Saturday, September 14, 2013

Sleep Chamber ::: Babylon



"A strange turning point in time.  There waz plenty ov disagreement within the ranks.  Jonathan Briley waz leaving.  Two other members were against the style ov the material we rekorded at these sessions.  They played along after the leaving of Johnathan and decided that the musick waz not going in the direction they were interested in (Michael Moynihan and Thomas Thorn).  A few female hits and fits just made the split seem the important choice to them.  The spite & fear from "the band waz draining everything from everyone".  A spell I transfixed on everyone... waz the rumor...  such arrogance that I waz requested legally not to credit the two members who played on the rekordings... (one moved on to THRILL KILL KULT, I guess that's not dance oriented!).  The other one spent his time with Boyd Rice... They continued to bad mouth me 'till people got tired ov it, then they shut up.  I thought it was funny that the dokument they sent that says 'not to use their image (photo or name credit) iz actually signed by one ov their parents!  I waz not crazy about the material, but didn't  want to start something new.  "DREAMS WHILE DROWNING" iz probably the best.  "HER SECOND SKIN" we did 5 versions, couldn't make up my mind which one I liked.  "BABES OV BABYLON" I think we did 5 ov them too.  They all stared to sound the same, so its release waz not to fussy.  The printing on the first cover ov the second letter E, I hated.  The second cover waz a flop too.  (only 2500 copies made ov each.)"  - John Zewizz

Tracklist:
1- Her Second Skin
2- Babes Ov Babylon
3- Dreams While Drowning
4- Babylon Babes

Download:
https://mega.nz/#!NQgVVbTb!v84Mi0d9OQOTtqTvMygnzyB89ePWSy5vrsHq28rPIVQ

Sleep Chamber ::: Sonorous Invokations Ov Brian Jones


SONOROUS INVOKATIONS OV BRIAN JONES is SLEEP CHAMBER's 19th album.
As on BRIAN JONES' album PRESENTS THE PIPES OF PAN AT JOUJOUKA, this album is about the traditional ritual music of Morocco. JOHN ZEWIZZ of SLEEP CHAMBER impressively adapts this music by the use of flutes, horns, bells, cymbals etc., mixed with samples of BRIAN JONES. The last track contains parts of an interview done with JONES during his time in the military.  The whole album is underlayed by the typical dark sounds of SLEEP CHAMBER. The result is a masterpiece of classical ritual industrial music, which can be compared to SLEEP CHAMBER's cult album SEXMAGICK RITUAL.

 "Through the years John Zewizz has remained a fan of both the early Rolling Stones and Brian Jones.  He considered the Brian Jones era of The Rolling Stones as both cryptic and exotic.  Brian Jones was the one who introduced the Stones to magick, exotic drugs, and the concept behind the Stones SexMagick LP “Their Satanic Majesties Request”.  “Their Satanic Majesties Request” is probably Zewizz’s favorite musickal score.   John decided to play homage to Jones and the “Satanic Majesties” LP with the SLEEP CHAMBER release "Sonorous Invokations Ov Brian Jones".  The “Sonorous” recordings were set-up at Zewizz’s apartment in a copy-cat fashion to invoke the same energy and layout as the Stones “Satanic Majesties” sessions.   On the first day of the recording John greeted Andrew Woolf and his girlfriend Sin at the door of his apartment with "party favors" and took them into his apartment.  The whole place was set up like a shrine - with candles everywhere, burning incense, and every blind drawn shut.  This was to be an actual invokation.  The sessions took 2 weeks.   For the entire duration of the sessions no one was allowed to leave the apartment.    The outside world ceased to exist.  The sessions were plagued by a variety of weird and spooky events that left the participants convinced they had been successful..."
 - from the Official John Zewizz biography 

Tracklist:
1 - Invokation - 4:38
2 - Courtfield Road - 4:36
3 - Somewhere In Morocco - 12:20
4 - Magick, Mushrooms & The Moon - 8:13
5 - Forever & A Moment - 9:37
6 - Hash Ghost Ov Tangier - 6:25
7 - Gomper Enchantment - 9:01
8 - Return To Morocco - 3:16
9 - Pan, The Blonde Goat - 1:32

Download:
https://mega.nz/#!wcBB1SYJ!mokZOemwPR7S_KmDgAsBFjUBVZ0_L16VC8707qu9ouE




























Sleep Chamber ::: Sacred and Surreal



A selection of tracks from the 'Sleep Chamber' LP (tracks 1 to 3) plus previously unreleased "outtakes, demos and rejected versions".

These tracks show the earlier but still dark side to Sleep Chamber.   No other band shows such intent or such originality in musickal efforts.  These tracks might be considered the missing link in their recordings.

Tracklist:
1 Vivisection (2:39)
2 Flesh On Flesh (4:34)
3 Inspiration (4:18)
4 Lizard Priest (3:53)
5 The Selfish Sin (5:16)
6 Under The Green Sky (3:55)
7 The Distant Cry (5:43)
8 Raindance (5:46)
9 Fetish (3:18)
10 Dreams While Drowning (3:25)
11 Her Second Skin (4:58)
12 Kiss The Whip (6:16)

Download:
https://mega.nz/#!cMBmjJ5B!V75LHuA3c4oJuizRXsi5yIzX3GPtGjt94vSDYsVRy50

Clear us a path through the jungle or get the fuck out of the way!

"The first principle is that you must not fool yourself and you are the easiest person to fool." - Richard P. Feynman

The late Christopher Hitchens called conspiracy theories the "exhaust fumes of democracy", and I'm only now beginning to understand just how much that's true.  The political landscape is today largely fragmented by special interest groups, and the phenomenal emergence of "fright-wing" politics is only going to gain momentum in the future. It appeals to the masses because it presents an oversimplified view of the world, and thanks to the internet it's possible for somebody to post the most ludicrous story imaginable and have it accepted by thousands of unquestioning 'true-believers'. Social media has been reduced to a confirmation bias supporting mechanism, where religious and conspiracy fanatics can all find reassurance for their own particular worldview, regardless of its objective truth.

Welcome to Huxley's Brave New World.  Huxley got it right and Orwell got it wrong:

http://i.imgur.com/LUX24r7.gif

Indeed Huxley would not have been the slightest bit surprised by all of this, in fact he well predicted it.  He believed that it is far more likely that the Western democracies will dance and dream themselves into oblivion than march into it, single file and manacled. Huxley grasped that it is not necessary to conceal anything from a public insensible to contradiction and drunk by technological diversions.  Look around, how many 'zombies' do you see walking the malls today, gadget in hand and busily texting their own self-importance?  A clear descent into a Huxleyan world of technological narcotics.

People these days are so certain of their beliefs and opinions about what is truth and what is right.  It is then no wonder that popular political discourse on the internet is dominated by conspiracy theory and serious religious debate by threatened certainty or pointless mockery.  What ever happened to healthy skepticism and healthy religious debate?

In the Autobiography of Benjamin Franklin, there appears a remarkable quotation attributed to Michael Welfare, one of the founders of a religious sect known as the Dunkers and a longtime acquaintance of Franklin. The statement had its origins in Welfare's complaint to Franklin that zealots of other religious persuasions were spreading lies about the Dunkers, accusing them of abominable principles to which, in fact, they were utter strangers. Franklin suggested that such abuse might be diminished if the Dunkers published the articles of their belief and the rules of their discipline. Welfare replied that this course of action had been discussed among his co-religionists but had been rejected. He then explained their reasoning in the following words:

"When we were first drawn together as a society, it had pleased God to enlighten our minds so far as to see that some doctrines, which we once esteemed truths, were errors, and that others, which we had esteemed errors, were real truths. From time to time He has been pleased to afford us farther light, and our principles have been improving, and our errors diminishing. Now we are not sure that we are arrived at the end of this progression, and at the perfection of spiritual or theological knowledge; and we fear that, if we should feel ourselves as if bound and confined by it, and perhaps be unwilling to receive further improvement, and our successors still more so, as conceiving what we their elders and founders had done, to be something sacred, never to be departed from."

Franklin describes this sentiment as a singular instance in the history of mankind of modesty in a sect. Modesty is certainly the word for it, but the statement is extraordinary for other reasons too. We have here a self-criticism and a self-examination worthy of Plato, but how rare such instances are in history, particularly today. The Dunkers came close here to formulating a commandment about all religious and political discourse: Thou shalt not write down thy principles, still less print them, lest thou shall be entrapped by them for all time.  Yet we may add another principle (and this I feel is of paramount importance): Thou shalt not forget the past. 

In the 'Age of Show Business', image politics, and personal certainty,  political discourse is emptied not only of ideological content but of historical content, as well. Czeslaw Milosz, winner of the 1980 Nobel Prize for Literature, remarked in his acceptance speech in Stockholm that our age is characterized by a "refusal to remember"; he cited, among other things, the shattering fact that there are now more than one hundred books in print that deny that the Holocaust ever took place.  The historian Carl Schorske has, in my opinion, circled closer to the truth by noting that the modern mind has grown indifferent to history because history has become useless to it; in other words, it is not ignorance but a sense of irrelevance that leads to the diminution of history. Television's Bill Moyers inches still even closer when he says, "I worry that my own business . . . helps to make this an anxious age of agitated amnesiacs .... We Americans seem to know everything about the last twenty-four hours but very little of the last sixty centuries or the last sixty years."

By using media whose structure is biased toward furnishing images and fragments, we are deprived of access to an historical perspective. Terence Moran, Professor of media culture, remarked that in the absence of continuity and context, "bits of information cannot be integrated into an intelligent and consistent whole."  So what we are left with is a vacuum filled rapidly with opinions.  The larger the vacuum the more certain the opinions will be and the more absurdly their certainty will be expressed.

There is no conspiracy here.  No malicious power set us this way.  We do not refuse to remember; neither do we find it exactly useless to remember. Rather, we are being rendered unfit to remember.  The politics of image, instantaneous news and easy social media provides no necessary context, and is in fact, hampered by attempts to provide any. A mirror records only what you are wearing today. It is silent about yesterday.  So too the automatic reaction towards a conspiratorial interpretation of the world which seemingly erupted on the internet over the last decade is symptomatic of not only a forgetfulness (while pretending to remember) but an obvious internal emptiness.  When history is forgotten or little understood the self has little option but to invent it.

No one needs to be reminded that our world is now marred by many prison-cultures whose structure Orwell described accurately in his parables. If one were to read both 1984 and Animal Farm, and then for good measure, Arthur Koestler's Darkness at Noon, one would have a fairly precise blueprint of the machinery of thought-control as it currently operates in scores of countries and on millions of people. Of course, Orwell was not the first to teach us about the spiritual devastations of tyranny. What is irreplaceable about his work is his
insistence that it makes little difference if our wardens are inspired by right- or left-wing ideologies. The gates of the prison are equally impenetrable, surveillance equally rigorous, icon-worship equally pervasive.

Yet Huxley's vision is far more terrifying and far more plausible on a world scale.  What Huxley teaches is that in the age of advanced technology, spiritual devastation is more likely to come from an enemy with a smiling face than from one whose countenance exudes suspicion and hate. In the Huxleyan prophecy, Big Brother does not watch us, by his choice. We watch him, by ours. There is no need for wardens or gates or Ministries of Truth. When a population becomes distracted by trivia, when cultural life is redefined as a perpetual round of entertainments, when serious public conversation becomes a form of baby-talk, when, in short, a people become an audience and education an act, then a nation finds itself at risk; culture-death is a clear possibility.

An Orwellian world is much easier to recognize, and to oppose, than a Huxleyan. Everything in our background has prepared us to know and resist a prison when the gates begin to close around us. We take arms against such a sea of troubles, buttressed by the spirit of Milton, Bacon, Voltaire, and Goethe. But what if there are no cries of anguish to be heard?  Who is prepared to take arms against a sea of amusements? To whom do we complain, and when, and in what tone of voice, when serious discourse dissolves into giggles? What is the antidote to a culture's being drained by laughter?  What is the turn-back point to a people drowning in absurd conspiracy theories?  The real issues are there but people seem largely to have stopped remembering, or to be looking only through a filter of empty paranoia, an anger totally misplaced and which readily plays apologetics to the most barbarous crimes when such may disturb an opinionated world-view.

What I suggest here as a solution is what Aldous Huxley suggested, as well. And I can do no better than he. He believed with H. G. Wells that we are in a race between education and disaster, and he wrote continuously about the necessity of our understanding the politics and epistemology of media in our time. For in the end, he was trying to tell us that what afflicted the people in his visionary Brave New World was not that they were laughing instead of thinking, but that they did not know what they were laughing about and why they had stopped thinking.

To the preachers of today's world - both religious and political - I have a simple message:  Make certain that your 'truth' is not the gullible excrement of a dying culture but instead offer your listener a path filled with such beauty that embarking on it will be natural, fulfilling and self-awakening.  Make sure that your preaching is not merely the nauseatingly fearful and repetitious paranoia of the fanatic but that your 'way' is crowned with a radiance of Love, Life, Light and Liberty.

Until you are able to do that and you have proven yourself self-aware and self-critical, then I strongly recommend that you shut the fuck up and get the fuck out of the way.

Let's go shopping...

"O my Son, how wonderful is the Wisdom of this Law of Love! How vast are the Oceans of uncharted Joy that lie before the Keel of thy Ship! Yet know this, that every Opposition is in its Nature named Sorrow, and the Joy lieth in the Destruction of the Dyad. Therefore must thou seek ever those Things which are to thee poisonous, and that in the highest Degree, and make them thine by Love. That which repels, that which disgusts, must thou assimilate in this Way of Wholeness. Yet rest not in the Joy of Destruction of every Complex in thy Nature, but press on to that ultimate Marriage with the Universe whose Consummation shall destroy thee utterly, leaving only that Nothingness which was before the Beginning.  So then the Life of Non-action is not for thee; the Withdrawal from Activity is not the Way of the Tao."  - Aleister Crowley

Tuesday, September 10, 2013

Sleep Chamber ::: Submit to Desire



Here is Sleep Chamber’s second album “Submit To Desire”. An excellent album of dark rhythmic songs on side Mood One, songs who have been reissued on other Sleep Chamber albums, but manly in remix versions. Side Mood Two is the more experimental side of Sleep Chamber, to be compared with Satanic Sanction and Sexmagic Ritual, as far as I know the tracks 5, 6 and 8 have never been reissued. Submit To Desire was released on vinyl by Inner-X-Music (XXX-LP-05)  in 1985.  Mood Two was recorded at various radio broadcasts, 1985.

Tracklist:

Mood One

1. Fetish
2. Subterranean Subhuman
3. Kum Kleopatra
4.Submit To Desire

Mood Two

5. Priestess
6. The Empress
7. Oral Maze
8. Erotik Apparition

Download:
https://mega.co.nz/#!18MRVSib!wtt_7_p61COPm6GbAhsOLGr9iFUa4GTloBh1CoMA3Vk

Ain Soph ::: Kshatriya



*New link

Excellent dark experimental ambient. Kshatriya was original released on vinyl by Misty Circles (MCR01) in 1988, in a limited edition of 80 copies on clear vinyl and 1000 copies pressed on black vinyl. This version was released on cd by Musica Maxima Magnetica (EEE 21) in 1994.

Tracklist:
1. Decimus Gradus
2. Monsalvat
3. I.A.O.
4. Kshatriya
5. Stella Maris

Download:
http://www.adrive.com/public/KNux8K/Ain%20Soph.zip

Ain Soph ::: "I"



Ain Soph arose in Rome in the early 1980′s, composing disturbing industrial-ambient soundtracks for their esoteric rituals. The music of their first tape releases is dark, frightening and evocative. In 1988 they released their first LP, the masterpiece “Kshatriya” , blending neoclassical arrangements, noise and experimental sounds. At the beginning of the 1990′s, AinSoph radically changed direction, first releasing a collection of sacral-hymn songs, then exploring traditional folk music and psychedelic hard rock. Beautiful ritual ambient. I (this version) was released on cassette by Misty Circles (MC 03) in 1984. In 1993 released on vinyl by Misty Circles and Purity Records ( MCR04, PURITY 02), 4 Copies on green Vinyl,200 Copies on clear Vinyl, 500 Copies on black Vinyl. In 2000 released on cd by Old Europe Cafe and Misty Circles ( OECD 036, MCR21) and seems to be an re-release of the lp/cassette with one extra track.

Tracklist:
1. 1 Parte
2. 2 Parte
3. 2 Parte
4. 2 Parte

Download:
http://www.adrive.com/public/Z5VePf/AinSophI.zip

Monday, September 9, 2013

VA - LALYLAL ::: A Journey Into Obscure Ambient


From uncomfortable to beautiful, this mix is sure to stir some feelings (I hope).  It is not intended as a mix that you sit down and listen to but more as a background experience.  Do not try and take the music, instead let the music take you.

I had previously made a Gorish compilation but since this blog has taken yet another incarnation I thought it appropriate to make another one.

Enjoy the trip.

Tracklist:
01. Ain Soph - Decimus Gradus
02. Five Thousand Spirits - Limahians
03. Sola Translatio - The Gate
04. Subheim - Hush
04. Coil - 4-Indolol,3-[2-(Dimethylamino)Ethyl],Phosphate Ester: (Psilocybin)
06. Coil - Batwings (A Limnal Hymn)
07. Coil - Montecute
08. Coil - Magnetic North
09. Radio Amor - I'm Transmitting Tonight
10. Five Thousand Spirits - Lais
11. Sangre Cavallum - Barbara Carmina d.C.

Download:
http://www.adrive.com/public/ftUbQP/LALYLAL.zip

Ain Soph & Sigillum S ::: Cthulhu



Ain Soph were a ritual sound project with over twenty years of output.  On this recording they team up with Sigillum S and give us a wonderful textured experience.  Highly recommended!

Tracklist:
A1 Ain Soph – Rex Tremendae
A2 Ain Soph – Estey
A3 Ain Soph – Katàbasis
A4 Ain Soph – Retrowange Novelle

Simulacra

B1 Sigillum S – Sea Ov Dreams
B2 Sigillum S – Abyss Dissection
B3 Sigillum S – Deepest Of My Brain
B4 Sigillum S – Into The Nothing
B5 Sigillum S – Iconsire

Download:
https://anonfiles.com/file/7c606c8200a5bc0de346abb5641358b5

On Nazism and the Magic of Belief

In a novel titled The Man Who Was Thursday, G. K. Chesterton describes a brigade of political police whose specialty was poetry.  A crime is forestalled because a policeman understands the meaning of a sonnet.  There is a great deal of truth behind Chesterton's whimsicalities.  Trends of thought which escape the notice of the trained observer; writings and works which the sociologist pays scant attention, together with social phenomena that he considers too insignificant or too 'odd' to worry about, are sometimes a surer indication of events to come than the facts that are there for all to see.
In 1896, an English author, M. P. Shiel, published a short story in which we read of a band of monstrous criminals ravaging Europe, slaughtering families which they considered inferior and impending the progress of humanity, and burning their corpses.  The story was entitled:  The S.S.

The atmosphere of terror under the Nazis, which nobody could forsee, was heralded in the horrible stories of the German writer Hans Heinz Ewers: The Mandragore and In Terror, who was destined to become the regime's official poet.  Goethe said: "Coming events cast their shadows before", and it may well be that these undercurrents in which the future is reflected may be detected and interpreted, not in events which attract general attention, but in works and human activities which have nothing to do and are far removed from what we call 'the stream of history'.

Germany, when National Socialism first made its appearance, was the home of the exact sciences.  German methods, German logic, and the strictness and integrity of German scientists were universally esteemed.  And yet it was in a society of this kind that an incoherent and patently crazy doctrine was introduced and spread like wildfire, starting from quite insignificant premisses.  In the country of Einstein and Planck there was talk of an 'Aryan physique'; in the homeland of Humboldt and Haeckel 'racial problems' began to be discussed seriously.  Such phenomena cannot be explained as being due solely to economic inflation.  There was something else at work here, a type of madness forseen in the poems and writings of a neglected few poets and authors.

"Love," said Jacques Chardonne, "is much more than love."  We have to wonder if history is also often much more than history.  In his analysis of the book Hitler Unmasked by Dr. Otto Dietrich, who was for years the Fuhrer's chief press officer, M. Pierre Cazenave writes as follows:

"...However, Dr. Dietrich is too easily satisfied with a word he often repeats and which, in our positivist age, is inadequate to explain Hitler.  'Hitler', he says, 'was a demoniac possessed by nationalist ideas to the point of madness.'  What does he mean by 'demoniac'?  And why 'madness'?  In the middle ages Hitler would have been described as a man possessed, but today?  Either the word 'demoniac' means nothing, or else it means possessed by a demon.  But what is a demon?  Does Dr. Dietrich believe in the existence of the devil?  We must be clear about this.  I, personally, am not satisfied with the word 'demoniac'.  Nor with the word 'madness', which suggests mental disorder...Was Hitler responsible?  In my opinion, yes.  And that is why I reject the word 'madness' just as I cannot accept the term 'demoniac'..."

I totally agree with Cazenave's critique and also find the use of words such as 'madness' and 'demoniac' wholly unsatisfactory.  But it still leaves us with an unresolved problem.  If Hitler was neither mad nor possessed the history of Nazism would still be inexplicable by the standards of a 'positivist age'.  Psychology in depth has shown that man's apparently rational actions are in reality governed by forces which he himself knows nothing, or which are closely linked with a symbolism having nothing in common with ordinary everyday logic.  In the history of Hitlerism, or rather is certain aspects of this history, everything happens as if the whole conception on which it was based has baffled the ordinary historian so that, if we want to understand, we will have to abandon our positive way of looking at things and enter a world where reason and reality are no longer valid.

"At bottom", said Rauschning, "every German has one foot in Atlantis, where he seeks a better Fatherland and a better patrimony.  The double nature of the Germans, this faculty they have of splitting their personality which enables them to live in the real world and at the same time to project themselves into an imaginary world, is especially noticeable in Hitler and provides the key to his magic socialism."

Rauschning I feel is certainly on solid footing in his explanation and he is quick to remind us that this affliction targets not only the Germans:

"whole nations have fallen into a state of inexplicable agitation.  They follow the flagellants' procession, or are seized by St. Vitus's Dance...National Socialism is the St. Vitus's Dance of the twentieth century."

But where does this strange malady come from? To this question he failed to find a satisfactory answer. "It's deepest roots are hidden in secret places."  It is these secret places that I feel we ought to explore.  And it is not a historian, but a poet, the magician and the artist who should be our guide.  As C.S. Lewis well remarked in his last book Till We Have Faces, "The gods will not speak to us face to face until we ourselves have a face."

What madness will we have to descend into to understand Nazism?  Quick examples will suffice.  The earth is hollow.  We are living inside it.  The stars are blocks of ice.  Several moons have already fallen on the Earth.  The whole history of humanity is contained in the struggle between ice and fire.

Man is not finished.  He is on the brink of formidable mutation which will confer on him the powers the ancients attributed to the gods.  A few specimens of the New Man exist in the world, who have perhaps come here from beyond the frontiers of time and space.

Alliances could be formed with the Master of the World or the King of Fear who reignes over a city hidden somewhere in the East.  Those who conclude a pact will change the surface of the Earth and window the human adventure with a new meaning for many thousands of years.

Such were the 'scientific' theories and 'religious' conceptions on which Nazism was originally based and in which Hitler and the members of his group believed - theories which have, to a large extent, dominated social and political trends and shaped recent history.  The fact that such ideas were irrational did not stop them from spreading and did not stop the true 'believers' from discarding the solid ground of rigorous investigation.

It is well known that the Nazi party was openly, and even flamboyantly anti-intellectual; that it burnt books and relegated the theoretical physicists among it's 'Judeo-Marxist' enemies.  Hitler used to say: "We are often abused for being enemies of the mind and spirit.  Well, that is what we are, but in a far deeper sense than bourgeois science could ever imagine."  As early as 1925 every scientist in Germany and Austria received a letter and an ultimatum:

"The time has come for you to choose - whether to be with us or against us.  While Hitler is cleaning up politics, Hans Horbiger will sweep out of the way the bogus sciences.  The doctrine of eternal ice will be a sign of the German people.  Beware!  Come over to our side before it is too late."

There was a fury to these beliefs.  Hitler was talking one day to Rauschning, the Governor of Danzig, about the problem of a mutation of the human race.  Rauschning, not possessing the key to such strange preoccupations, interpreted Hitler's remarks in terms of a stock-breeder.  This did not satisfy Hitler in the slightest and he screamed at the man: "The new man is living amongst us now!  He is here!  Isn't that enough for you?  I will tell you a secret.  I have seen the new man.  He is intrepid and cruel.  I was afraid of him. "

"In uttering these words,"  added Rausching, "Hitler was trembling in a kind of ecstasy."

It was Rauschning too who related the following episode:

"A person close to Hitler told me that he wakes up in the night screaming and in convulsions.  He calls for help, and appears to be half paralysed.  He is seized with a panic that makes him tremble until the bed shakes.  He utters confused and unintelligible sounds, gasping, as if on the point of suffocation.  The same person described to me one of these fits, with details that I would refuse to believe had I not complete confidence in my informant...Hitler was standing up in his room, swaying and looking all round him as if he were lost.   'It's he, it's he', he groaned; 'he's come for me!'  His lips were white; he was sweating profusely.  Suddenly he uttered a string of meaningless figures, then words and scraps of sentences.  It was terrifying.  He used strange expressions strung together in bizarre disorder.  Then he relapsed again into silence, but his lips still continued to move.  He was then given a friction and something to drink.  Then suddenly he screamed:  'There!  There!  Over in the corner!  He is there!' - all the time stamping with his feet and shouting.  To quieten him he was assured that nothing extraordinary had happened, and finally he gradually calmed down.  After that he slept for a long time and became normal again..." (Source:  Hermann Rauschning: Hitler m'a dit. Ed. Co-operation, Paris, 1939)

It may be thought that such ridiculous notions and such orgiastic lust for disaster and such disdain for academia and science are things we have learned from and will not repeat.  I fear such thoughts are utterly absurd if we merely look at the state of the world today and the sudden emergence of equally ridiculous ideas and the equal shunning of modern science and academia.  If the internet has taught us something it's that the absurd can find followers.  One need only look at the rise of conspiracy theories and the cult which has emerged around these since September 11, 2001.  Only a trigger is necessary and the rest will propel itself.

Not convinced?  Find the ideas of a hollow earth, eternal ice and the King of the World too strange to be acceptable today?  How different really are the ideas of David Icke today who proposes that there is an elite ruling the earth who are in fact descendents of a reptilian race?  How strange is it really that there is a virulent anti Semitism embedded in these conspiracy theorists?  How different from the madness of Nazism is it that many of these 'believers' will readily cry out for the gallows to be used on those they call 'traitors'?  Or how different is it that pathetic theories such 'ancient aliens' - which have been thoroughly debunked and which we know are connected to ideas of an alien race of men and eventually evolves into more anti Semitism - find ground in mainstream media such as the 'History' Channel?  The Nazis will always be with us and the horror of fascism, disguised in whatever form, is always there, keeping us - as Kafka well noted - "a breath away from the ice age."

On Reality and Mysticism


The world as we know it is one of appearances.  We do not know it as it really is; we know it only as it is represented in our consciousness, and this must be the starting point for any philosophizing.  Struck by the unreliability of the senses, Descartes doubted the existence of everything but resolved that, since he was contemplating the world, the act of thinking is the one thing he could be certain of and from that the rest could be deduced. This insight was similar to that of Schopenhauer, who insisted that only our own consciousness is known immediately: everything else is mediated through our consciousness and is therefore dependent on it.

But can reality be nothing more than our representations of it? Is it possible that nothing exists as such? Kant argued that if the world is one of appearances there must be something that appears, 'an object independent of sensibility'.  He referred to this as the 'thing considered as it is in itself', or the 'thing-in-itself' for short. The thing-in-itself must be neither object nor subject.  And if it transcends the distinction between subject and object it must transcend consciousness and the knowledge that attends consciousness.

If this is so, in addition to being an object of consciousness, everything is also a thing-in-itself. This 'existence in itself' stands outside the subject – object relationship and has a metaphysical existence that has its being in an unknowable world beyond consciousness; it is a 'metaphysical being'.  We can know nothing about it because all we know are appearances, and those appearances are structured by our given forms of understanding.

At this stage of the argument it seems reasonable to imagine that the world exists twice—once as an 'objective fact' independent of us and once in our representations as a set of images projected onto some sort of screen in our head. As the argument develops, though, it will become apparent that there is just one world but there are two distinct ways of apprehending it.

The main argument for the existence of the thing-in-itself is that without it we are left with a view of the world as nothing more than the illusion created by human consciousness. Although we know everything we know through our consciousness—including our senses and our cognition—this is not to say there is nothing we cannot know. Our awareness has limits. It is this that allows for the possibility of things existing beyond their appearances, as the thing-in-itself.We can think about the world 'beyond' the world of appearances, but that does not mean we know it.  To use a theistic analogy, the idea of God can never be God.

The approach of transcendental idealism—which considers the problem of reality not from the starting point of object or subject but through the inseparability of the two—differs from other philosophical approaches, including the commonsense realist one.  Most philosophical approaches, at least in the Western tradition, recognize only the subject or the object. In particular, realists (or 'materialists') recognized only the object, and the idealists who preceded Kant recognised only the subject.  Realists take matter as having absolute existence, independent of consciousness, but they are then confronted with the problem of perception: if I see an object as green but my colour-blind friend sees it as red we are compelled to admit we cannot do without the perceiving subject.  As Schopenhauer wrote, "For 'No object without subject' is the principle that renders all materialism for ever impossible".

Realism, which coincides with the working assumption of everyday life, is therefore based on nothing more than a supposition—the absolute existence of the world beyond our senses—since we can never test the supposition by stepping outside ourselves to see whether it is true. Such a world is not conceivable. Thus, despite its intuitive obviousness, realism is "the philosophy of the subject who forgets to take account of himself. "

Mysticism has been called 'a doctrine of epistemological modesty': it recognises the limits of our knowledge.  This might seem odd at first, but on reflection we see that realism imagines there is a world outside us which is then mirrored by a world within us that represents the 'objective' world.  In this view we imagine, if only by implication, an all-seeing God above who observes his creation, a God who exists independently of our consciousness. This is implicitly a theocentric model, and Kant's revolution was to make our understanding of the world human-centered instead of God-centred—perhaps the crucial philosophical insight of the European Enlightenment.  The world as we see it is as we see it, rather than as it really is; it is conditioned by our perception; it is a world of appearances. This is the meaning of the often-quoted observation in the Talmud: "We do not see things as they are, but as we are."

Kant did not turn man into God but took away from man the god-like insight the realists had unwittingly assigned to him. This is why Kant's idealism is modest and why Kant himself was suspected of holding heretical views. Kant's intervention followed a long and intense debate in the Catholic church over the nature of reality, the theologians being divided between nominalists, realists and conceptualists. As the Enlightenment dawned the consensus converged on what was known as 'moderate realism' (especially as formulated by Thomas Aquinas), which allowed the church's teachings to coexist with the new science. Kant's assertion of a form of conceptualism laid the groundwork for the emergence of humanism. In particular, the anthropocentric model gave humans responsibility for their moral laws and their destiny, rather than these things being handed down by God, with the clerics acting as middlemen.

Kant adopted the terms phenomenon and noumenon to distinguish between the thing as it appears to us and the thing as it is in itself.  Thus 'phenomenon' applies to the world of appearances, the phenomena that inhabit our consciousness, and 'noumenon' describes the world that 'lies behind' the world of appearances.  For Kant, the difficulty lay in establishing the need for the existence of something about which we can know nothing.  Positing the existence of the noumenon was pivotal because if the world were nothing but appearances it would be indistinguishable from a dream. But if there is another side to the world we can know nothing about it, since anything we do know takes the form of a representation, a phenomenon.

Appearances however must be appearances of something. Then the noumenon is a thing 'so far as it is not an object of our sensible intuition'. But there could be a positive reason for establishing the existence of the noumenon.  At one point Kant entertained the idea that there might be a special kind of awareness, beyond our ordinary consciousness, that allows us special knowledge of the noumenon. He suggested "a peculiar mode of intuition . . . the very possibility of which we have no notion" that would allow us to understand the noumenon
positively, as "an object of a non-sensible intuition".  But he then rejected such a notion and reverted to negative arguments for the noumenon.

Although declaring that "we are not entitled to maintain that sensibility is the only possible mode of intuition", Kant became known, adopted a position of philosophical humility, shying away from this postulated form of non-sensible intuition because such a notion "lies absolutely beyond what we could know". He conceded the possibility of a form of intuition beyond everyday senses and cognition but argued that since our faculties can know nothing of this it is legitimate to motivate the existence of the noumenon only in the negative sense.  Kant's 'distinctive concern was to vindicate the authority of reason' after centuries of superstition and ecclesiastical dogma. He was determined to stay true to the Enlightenment value of stringent rationality and resisted the temptation to resort to notions that seemed dangerously close to theology. So, despite professing to be a Christian throughout his life, he used the existence of the noumenon to structure the void left by the boundedness of the world of appearances—as if to prevent theists from filling it with God.  Thus, in the end he insisted that the division between phenomenon and noumenon can be supported only in the negative sense. The willingness to argue for the existence of a form of 'nonsensible intuition' was the decisive break from Kant that Schopenhauer made.

If we cannot know the world as it is in itself but can know it only through our perceptions, how is it that our perceptions are so uniform we can communicate with each other effectively through a shared view of the world? Kant maintained that humans' capacity to perceive the outside world and thus form representations of it depends on certain 'conditions of sensibility' that exist before the experiences themselves, notably the forms of space, time and causality. These are inbuilt forms of the human mind, and they provide the structure that allows us to receive in an intelligible way the sensory data of the outside world.  They are a priori—that is, present before experience. As a result, instead of learning the forms of space, time and causality through experience of the world,we in fact impose them on the world.

This is a mind-bending idea. Putting causality aside for the moment, in this view space and time are the two pure forms of sensory intuition. Space is the property of the mind by which we represent objects outside ourselves, whereas we represent everything that relates to our inward mental or sensory consideration in terms of time. Space and time thus provide the pure forms by which we apprehend the world; they do not belong to things in themselves. In the case of space, we do not learn by experience to understand and use the concept because it already structures our capacity to perceive the world. It is 'the foundation of all external intuitions' or appearances. Indeed, the priori form of space makes all external appearances possible. Geometry is the science of space that developed wholly independently of any real object and does no more than apply intelligence to the form of space. If we imagine an object from which we progressively strip away all features—colour, hardness, weight, and so on—we would still be left with the space it occupies, 'and this it is utterly impossible to annihilate in thought'.

So, rather than being properties inherent in the 'object' (the material world outside us), these priori forms are brought by the subject to the world and used to structure representations of it. Indeed, these forms are essential to allow communication between subject and object—that is, the opportunity for the subject to structure the world in a useful way.  This is a radical and counter-intuitive position since Kant is arguing that, instead of assuming that 'our knowledge must conform to the objects' as they are actually given outside of us, 'the objects must conform to our knowledge'.   Although this might seem a monstrous idea, because humans are seen to 'create' the world, the opposite is the case. Instead of humans being able to capture reality as it is, we are captives of our representations of the world and cannot know it as it really is.

According to Kant, humans provide the rules by which we understand the world. Kant called these rules we bring to the world the 'legislation for nature'. They allow us to order our perceptions.  And they make possible pure understanding—cognition that depends on concepts alone, such as pure mathematics.  The rules we bring to the outside world are common to all of us and therefore give our understanding objectivity.  Realists, on the other hand, do not recognize these rules as priori conditions; instead, they attribute them to the outside world as inherent qualities of it that each human must learn anew through experience.

The properties of the world as we perceive it do not belong inherently to the world but are 'imposed' on the world by our perception of it. This does not mean the only reality is the world of appearances; rather, it means that, to the extent that we perceive and think, we do so only in terms of appearances. There is a reality 'behind' appearances, or at least it is necessary to posit such a world because appearances presuppose things that appear.

Now you may notice that many of these concepts have a similarity with Eastern Mysticism.  Schopenhauer was the first Western philosopher to appreciate the deep insights of the East, where it has been understood for millennia that the world as we experience it has no real being but is instead 'a ceaseless becoming'.  In the Hindu Vedas—the oldest books in the world—the idea can be found in the doctrine of Maya, the chimera of the everyday world, 'an unstable and inconstant illusion without substance . . . a veil enveloping human consciousness'. These ideas, Schopenhauer noted, were produced not from philosophising by the sages but from 'the direct utterance of their consciousness'.

As with time, so with space: both are forms that inhere not in the world itself but rather in our representations of it. Thus in the Upanishads (a later distillation of the Vedas), space is, in addition to being a property of things, the 'creator' of things, and all things are contained within space as Brahman: "Space, as it is called, is the bringer into being of name and form.  That which contains them is brahman, the immortal."  All phenomenal forms exist 'inside' the boundless and timeless ground. When the subject brings the form of space to the world, differentiation is created since the spatial coordinates of a thing distinguish it from another thing. In the Kantian view, the phenomenon is characterised by multiplicity but the noumenon is undifferentiated; in Schopenhauer's words, "only the one and identical essence can manifest itself in all those phenomena."  This idea reappeared across the ancient and modern worlds, in the writings of the Platonists and the Sufis and the works of Spinoza and various Christian mystics, before Kant took it up and argued it using the rules of logic rather than direct realisation.

In the Upanishads the idea of oneness from which all else is manifest is explicit in the idea of Brahman. The unifying or subtle essence can be interpreted as the sacred power of the whole universe—that is, the universal 'energy' that is the essence of the noumenon. It is the source of creation yet is uncreated. Thus Brahman is said to be 'self-born'. In Buddhist teaching, which is atheistic, this is captured in the notion of the 'suchness' of the world, the essential quality that infuses all things and reflects the oneness of the whole creation: "When the Ten Thousand things are viewed in their oneness, we return to the Origin and remain where we have always been."

Aldous Huxley summarised the insight of the sages of all traditions by describing a hierarchy of the real:

"The manifold world of our everyday experience is real with a relative reality that is, on its own level, unquestionable; but this relative reality has its being within and because of the absolute Reality, which, on account of the incommensurable otherness of its eternal nature, we can never hope to describe, even though it is possible for us directly to apprehend it."

Coil ::: Black Antlers



This album has quite a lot to recommend it. "The Gimp (Sometimes)" is a spooked, melancholic lament by Balance, set against an eerie backdrop of distorted synthesizers and scattered percussive elements. "Sex With Sun Ra (Part 1 - Saturnalia)" is the best song on the album, Balance narrating an erotic fantasy partly based on Sun Ra's "black folks in space" prophecies as explicated in John Coney's film Space is the Place: "He dreamt of color music and the machines that make it possible/He took me for a ride on a space ship powered by natural music." The music bears no resemblance to the cosmic free jazz of Sun Ra, veering closer to Musick to Play in the Dark-era Coil: gurgling synthscapes with slow, percolating rhythms. "All The Pretty Little Horses" is an unexpected cover of the traditional British folk song made famous (to Brainwashed readers) by Current 93. Coil's version is quite lovely, with expertly played marimba as accompaniment for Balance's best attempt at crooning. "Teenage Lightning (10th Birthday Version)" resurrects and expands the LSD track, giving it a more open-ended, organic feel than the original. "Black Antlers (Where's Your Child)" ends the disc on a high note, a druggy rave-up full of queasy samples and chopped, distended vocal samples. With a little finessing, this album has the potential to be one of Coil's finest.

Tracklist:
1. "The Gimp (Sometimes)" – 11:26
2. "Sex With Sun Ra (Part One - Saturnalia)" – 9:22
3. "The Wraiths And Strays Of Paris" – 8:44
4. "All The Pretty Little Horses" – 4:45
5. "Teenage Lightning (10th Birthday Version)" – 9:15
6. "Black Antler's (Where's Your Child?)" – 7:10
7. "Sex With Sun Ra (Part Two - Sigillaricia)" – 5:11

Download:
 https://mega.nz/#!VVxzFZaB!T1RaHVuBkbJAB1SZaxkarLUVefXrwsa_XNsEmuAJfCk

Coil ::: Astral Disaster



Some tones, some drones, beautiful soundscapes and even a guitar bit on here. Most unmistakably Coil, however, this is the CD release of an LP originally recorded back around Halloween 1998. The recordings took place outside Coil's studio however, and were produced in part by Gary Ramon of the Prescription label. The LPs were made in a quantity of 99 and only given to those who had subscribed to this series released on Prescription. The original recordings seemed rather different from Coil's work, almost without the absolute quality control work that Coil put into everything. Coil have rearranged the running order, reworked most of the songs, added one song, and left a couple untouched on this release - stretching the 45 minute-long LP into a 72 minute-long CD. The electro-glitchy looped bits "The Avatars" and "2nd Sun Syndrome" along with the haunting epic, "The Mothership and the Fatherland" remain almost completely untouched, while in "I Don't Want to Be The One," the song gets extended about 3 minutes, Peter's voice gets added subtly and an unrecognizable voice (could it be Thighpaulsandra?) appears in a brand new part tagged on at the end. The new track "MU-UR" sounds like altered takes from "The Mothership & the Fatherland" with the pulsing tympani, mesmerising scapes and Maggot Brain-era Funkadelic organ. Also added is a vocal whose effects echo those of "Amethyst Deceiver." Perhaps the most drastically changed tune is "The Sea Priestess," where a droney sitar has been completely removed. Beautiful choral voices are added along with brilliant droning Tibetan vocal samples. Pretty chimes paint an aural picture of the water glistening in the moonlight and the vocals are mixed much better and prominent sounding.

Tracklist:
1. "The Avatars" – 3:02
2. "The Mothership & The Fatherland" – 22:24
3. "2nd Sun Syndrome" – 4:16
4. "The Sea Priestess" – 14:10
5. "I Don't Want To Be The One" – 4:47
6. "MÜ-ÜR" – 22:40

Download:
https://mega.nz/#!dEghFbCA!P0s1Ks8AzEKeiVt3vqpPT3LJOWpYpio9XGQ2XkGNbDg

Coil ::: Time Machines



"We attempted to dissolve time." That's how the late John Balance, half of the now disbanded British experimental musical duo Coil, described the aim of their 1998 release Time Machines (Eskaton). Balance said this with such matter-of-factness that you hardly notice the ludicrousness of his claim. No mere sensation-hungry dabblers when it came to tearing down the doors of perception, Coil certainly had reason to stand behind their assertion. Having logged countless hours drifting in the lapping tides of Time Machine's slowly unraveling synthesizer drones, I can tell you that Balance and musical partner Peter Christopherson definitely succeeded in their attempt. Coil's m.o. with Time Machines can be best summed up by the title of Spacemen 3's 1990 demos compilation Taking Drugs to Make Music to Take Drugs To (Bomp). Starting from the premise that hallucinogens can remove oneself from one's temporal reality, Balance and former Throbbing Gristle member Christopherson (with assistance from William Breeze and Drew MacDowell), set out to synthesize music that would catalyze and tease out the temporally-disruptive effects of specific chemical compounds. If that sounds a bit dry, there is indeed an aura of scientific self-seriousness to the release. Each composition is titled with the chemical name of the substance it has been designed for - track one, "Telepathine" (an earlier term for the compound found in Ayahuasca or yage, popularized by Burroughs and Ginsberg); track two, "DOET/hecate"; track three, "5-Me0-DMT"; and track four, "Psilocybin." But for Coil, science was another form of magic, something driven home by the album's cover design: a black, glossy oval that alludes to the obsidian "scrying mirror" of Renaissance magician and astronomer John Dee, who supposedly used the stone to conjure spirits. (A limited number of albums also came with a set of stickers that when placed on top of each other depicted Dee's sigil, the Hieroglyphic Monad). I should confess, with much embarrassment, that for the many times and many different contexts in which I have listened to Time Machines, I have yet to experience any of the tracks while on the substances for which they were specifically engineered. That said, the album's transportive effects are noticeable even while listening sober (and are certainly heightened by strong doses of THC). My experience has largely been subtractive: it is hard to do anything or to think about anything with much success, or even "actively listen," while Time Machines is playing. It is the aural equivalent of an isolation tank, in that you don't even notice the vessel falling away, you're so immersed. Turn it on, tune in, and dissolve.

Tracklist:
1. "7-Methoxy-β-Carboline: (Telepathine)" – 23:10
2. "2,5-Dimethoxy-4-Ethyl-Amphetamine: (DOET/Hecate)" – 13:28
3. "5-Methoxy-N, N-Dimethyl: (5-MeO-DMT)" – 10:02
4. "4-Indolol, 3-[2-(Dimethylamino)Ethyl]' Phosphate Ester: (Psilocybin)" – 26:51

Download:
https://mega.nz/#!4UI3QKgY!AabJFfXq95ghsceupYcn9KrUaiu_vxLd8EuJoJB62NM

Coil ::: A Thousand Lights in a Darkened Room



This like all coil recordings finds the coil people further exploring eschatology, and sounding unlike anything else and still with that quality of space that can only be coil. It is a world of high steel freeway tones and rhythm that change so subtly that is only at the end of the daydream lull that one finds the tune has almost passed. This is not to say it is boring rather that like the best film soundtracks there is a transparency to the film of your emotions, though those emotions are guided by coil's little hooks into their worldscape.

Black Light District sees the usual coil team helped out by some old and new friends and together they reach back to the elemental song structures of Scatology and Horse Rotorvator, and these constructions applied to the formless unwinding of textures and sound that has typified their incarnation as Elph. The result is enigmatic and furthers the deep listening experiments begun on Love's Secret Domain to such an extent that each play sounds like a different lp, it is different because with each turn we are different.

The fluidity of the tracks is parenthesised by the 2 opening tracks Unprepared Piano and Red Skeletons, and the final track Chalice. The opening two are an uncentred piano with bass weirdness and a scannerish set of phone samples between a couple who's relationship is over and in pain. These are threaded over a plunky disorienting gentle sound pattern. The other pieces leading from this discomfort to Chalice and a sense of peace are a journey over clanking distortions, half remembered bits of "Tubular Bells" and even some vocals. Chalice which could easily be the sister piece to Current 93's Where The Long Shadows Fall, is a spiritual arrival where delicate chanting and long shifting tones pierce some quiet part of the self into a fluttering. The circle (spiral) begun with the scatology lp closes and the darkness has never seemed so bright.

Tracklist:
1. "Unprepared Piano" – 1:44
2. "Red Skeletons" – 7:34
3. "Die Wölfe Kommen Zurück" – 10:26
4. "Refusal Of Leave To Land" – 7:29
5. "Stoned Circular I" – 4:30
6. "Stoned Circular II" – 6:45
7. "Green Water" – 5:28
8. "Cold Dream Of An Earth Star" – 9:01
9. "Blue Rats" – 3:10
10. "Scratches And Dust" – 0:55
11. "Chalice" - 8:15

Download:
https://mega.nz/#!sZZkFRAB!WHnIOh0AQ7tSA2UktRAsnRM_6XfXhzpuyKKxr_LAugU

Coil ::: Worship the Glitch



Coil confronts themselves once again, or rather the sometimes accidental results from their equipment (from Coil site at Brainwashed - "ELpH is the entity Coil use to describe what musical compositions come out of the equipment that are sometimes unrehearsed or consciously thought of." ) This album is essentially a collection of minimal instrumental sound pieces, not to say that the tracks are random noise, but rather snippets of "glitch" that Coil often use throughout their work. Bits and pieces of sound, some electronic/samples and some acoustic, but all often heavily effected and/or affected via computer. A few highlights: the 3 "Halliwell Hammers" tracks are the most structured and "song-like", with their beautiful echoing bell-like melodies and "Bism" is a minimal but roomy ambient track with a gentle white noise and a far away water and calling of birds. Subtle but relaxing, "Worship the Glitch" is not my favorite disc from Coil, but is a welcome addition to my Coil collection that will be listened to every now and then. Very cool mosaic artwork too. As always, this album is unique when compared to Coil's other work, but I'd say it's a first cousin of "Time Machines" and "Coil Presents Black Light District: A Thousand Lights in a Darkened Room", and is similar to various segments of "Unnatural History II" and "Unnatural History III".

Tracklist:
1. "Dark Start" – 4:12
2. "Opium Hum" – 2:37
3. "Caged Birds" – 1:33
4. "The Halliwell Hammers" – 2:39
5. "Clorax Hurd" – 3:00
6. "The Halliwell Hammers (2)" – 3:43
7. "We Have Always Been Here" – 6:11
8. "Manunkind" – 1:23
9. "Bism" – 4:58
10. "Hydlepark" – 6:00
11. "Hysteron Proteron Jewel" – 2:18
12. "Decadent & Symmetrical" – 1:51
13. "Mono" – 5:27
14. "The Halliwell Hammers (3)" – 3:36
15. "Anything That Flies" – 3:09
16. "Ended" – 1:14

Download:
https://mega.nz/#!0YxilZAJ!JatlQim6BlmMDrjyJuhXi7qE1Rx0I4Fh2IPjc28qr-8

Coil ::: Horse Rotorvator



Coil were an English cross-genre, industrial experimental music group formed in 1982 by John Balance —later credited as "Jhonn Balance"— and his partner Peter Christopherson, aka "Sleazy". The duo worked together on a series of releases before Balance chose the name Coil, which he claimed to be inspired by the omnipresence of the coil's shape in nature. Today, Coil are one of the most influential and best known industrial music groups. Horse Rotorvator was their second LP.

Tracklist:
01. The Anal Staircase (3:57)
02. Slur (3:28)
03. Babylero (0:51)
04. Ostia (The Death of Pasolini) (6:21)
05. Herald (1:03)
06. Penetralia (6:05)
07. Ravenous (3:27)
08. Circles of Mania (4:58)
09. Blood From the Air (5:24)
10. Who By Fire (2:34)
11. The Golden Section (5:48)
12. The First Five Minutes After Death (4:43)

Download:
https://mega.nz/#!gABRzSJa!MqJpR11JHh7QWEh852rtBVguq8bVRLhk4dQb5CyS3pY

Sigillum S ::: Sigillum S (Order ov Wolves)



Since 1985, SIGILLUM S has been developing their own special brand of a post - industrial audio project of many different natures, where concepts have led the effort and employed sound as a tool for the exploration of the forbidden areas of the subconscious…the result has been a endless paradigm of alien electronic mutations, merging concrete noise research with acoustic transmigration, while visuals and many other forms of media have been also adopted, in order to achieve maximum interaction intensity.

This particular release resembles much of the material that was at the time being put out by Coil.  I really do recommend you give this a listen.

Tracklist:
A1   Purity 5:57  
A2   De-Control 13:19  
A3   Resh ‎ 4:43  
B1   Terminal 2:50  
B2   Incstant Of The Obsession 12:20  
B3   Eternal Part IV 4:15  
B4   Portrait 2:56

Download:
http://www12.zippyshare.com/v/49852450/file.html
mirror:
https://mega.co.nz/#!1hV2kKrR!zewMJLEj1J0lIZfuJmxsUN62vWQPXngbs2jeLXv8aaQ

A new beginning...

Well of course you no doubt noticed that most of the links were killed off by mediafire.  It is, I suppose, always a danger in this game that eventually copyright catches up with a blog and most of the 'good stuff' gets wiped.  So, after much deleting, I have decided to start this blog again, with a new file host and slightly different content.  I hope you enjoy it.

Tuesday, March 12, 2013

Sleep Chamber ::: Satanic Sanctions


Tracklist
1-prescription
2-presence of the magis
3-entre nous
4-ov this flesh
5-poison
6-consequence or commitment

Download:
https://mega.co.nz/#!sx9wDITI!4BI1x7MMcruJJ7_6AszJdLcoSsr1kHViim0q8-pdsUM

Saturday, April 14, 2012

A Witch's Secret Letter

This is perhaps the most extraordinary and sad ‘witch’ source of them all. In 1628 Johannes Junius, aged fifty five, burgomaster of Bamberg was taken in by the local authorities as a witch. After days of interrogation he writes a secret letter to his daughter explaining his decision to confess to witchcraft. Here is the voice of the victim that is almost never heard in the witch trials.

Many hundred thousand times good night, my daughter Veronica so dear to my heart. Innocent I came to jail, innocent I was tortured, innocent I must die. For whoever comes to the house [where witches are examined] either must become a witch or be tortured for so long that he claims something pulled from his imagination, and, God have mercy, figures out something to say. I want to tell you how thing have gone for me…


Johannes describes being arraigned before witnesses who had named him after being tortured, a process that depressingly he would repeat.

Rather they said, I should confess voluntarily or the executioner would certainly force me to do so. I answered: ‘I have never renounced God, and did not plan to do so, and God should mercifully prevent me from doing so. I would rather endure what I had to’. And then came – God in highest heaven have mercy – the executioner, and put the thumbscrews on me, both hands bound together, so that the blood ran out at the nails and everywhere, so that for four weeks I could not use my hands, as you can see from my writing. So I put myself in the care of God in his five sacred wounds and said, because this concerns God’s honour and name, which I have never denied, therefore I will commend my innocence and all the tortures and harm to his five wounds and he will lessen my pain, so that I can endure such pain. Thereafter they first stripped me, bound my hands behind me, and drew me up in the torture. Then I thought heaven and earth were at an end; eight times did they draw me up and let me fall again, so that I suffered horrible agony.

Dear child, six witnesses have testified at the same time against me: the chancellor, his son, Neudecker, Zaner, Hoffmaisters Ursel and Hopffens Else, all falsely, through cercion as they all have told me and begged me [to forgive them] for God’s sake before their sentences were executed… they knew nothing but good and nice things about me. They were forced to say it, just as I myself would experience…

After much torture.

When the executioner took me back to jail, he said to me: ‘Sir, I beg you, for God’s sake confess something, whether it be true or not. Invent something, for you cannot bear the torture which you shall suffer; and even if you bear it all, you still shall not escape, not even if you were a count, but one torture will follow another until you say you are a witch. Not before that they will let you go, as you may see by their trials, for one is just like another’

Others gave similar sentiments.

So I made a plea, saying that I was in very bad shape, they should give me a day to think about it and send me a priest. They refused me a priest, but gave me the time to think. Now dearest daughter, can you imagine in what kind of danger I was and still am! I was supposed to renounce God for the first time, though I have never done so before. I worried myself sick day and night, and finally I hit upon a plan. I would not worry about it, as I had not been allowed to see a priest who could advise me whether I should think something up and say it. I would surely be better to say it with my mouth and with words, even though I had not really done it; and afterwards I would confess it to the priest, and let those answer for it who compel me to do it.

Now follows my statement which is pure lies, which I had to say under questioning accompanied by even greater tortures, and for which I must die. After that, I said that I was walking in a depressed state in my field near the Friedrichsbrunnen, and sat down there, and a wild girl came to me and said: ‘Sir, what are you doing, why are you so sad?’ I answered that I did not know, so she came closer. As soon as that happened, she became a billy goat and said to me: ‘See, now you see with whom you are dealing.’ It grabbed me by the throat and said ‘You must be mine or I will kill you!’ Then I said ‘God save me from that!’ So he disappeared and came back quickly, bringing two women and three men with him. I was to deny God, and I have confessed that I did so; I was to deny God and the heavenly host, and I have confessed that I did so; I have confessed that he then baptised me and the two women were the sponsors; and he gave me a ducat, but that it turned out to be a shard.

All this presumably came from the torturers’ witch book. It is instructive to see how useless ‘folklore’ evidence taken from investigated witnesses can be. There follows a heartbreaking passage in which he is forced, in turn, to name individuals: a pity he could not have named the torturer and all the rabble found there. Instead:

‘This rascal knows someone in the market place, spends time with him every day, and refuses to name him.’ Then they named Dietmeyer, and I was forced to name him too.’

And so evil begets evil. The letter ends, after advising his daughter to abscond:

Good night, for your father Johannes Junius will never see you again.

Johannes Junius was executed with a sword (as became his rank) and then burnt. The source interestingly turned up in the judicial file. This means that it fell into the judges’ hands either during or after JJ was executed. His daughter may never have read it. We have no idea whether she survived those years or not: her mother had been tried and killed as a witch before her father.

Here is the PDF with the full letter as it was originally written:
http://www.malefiz-haus.de/english%20letter%20of%20johannes%20junius.pdf

Monday, March 26, 2012

Oh Ye Denver Birds

Good Ivy, the debut album from Brisbane's Oh Ye Denver Birds available online from April 16th.

http://ohyedenverbirds.bandcamp.com/

To celebrate they have shared another little treasure.  Check it out:

Tuesday, March 6, 2012

Citizen Useless!

New CITIZEN USELESS song. Check it out. Download it. Share it with the people you love. Share it with the people you hate too!