SAMHAIN (31 October 2011)

The musick dedicated to this Sabbat is:

MORTIIS

ÅNDEN SOM GJORDE OPPRØR




Original Issue: 1995 Cold Meat Industry (CMI.31)

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Margot-meter: 5 moons / 5

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Do not forget to take a look at the comments section :-)

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from http://www.metal-archives.com/:

Onward from the slower, majestic predecessor, Fodt Til A Herske, Mortiis continues to bring you on a journey with the epic releases he has created. With Anden Som Gjorde Oppror, he is able to continue with his musical anticipations. Unlike the slower, more emotionally connected predecessor, the sophmore album of Mortiis shows a different side. You can just picture marching into a battle with this music being the ambience to surround you with every step you take upon the frostbitten grounds.

Words can hardly describe Mortiis. As in the first full-length release, Mortiis continues to create music that's like the soundtrack of a majestic film setting. Though unlike the first one with the mere castle standing within your vision, Mortiis decides to bring a more epic warlike theme to the second full-length release. You'll feel ready to march into battle to slay the enemies. Unlike most warlike opus' you find, this release is more natural form of the warlike atmosphere that remains to keep you on the edge of your seat with passion for the true beauty that music can create and allow you to visualize.

Mortiis again is able to define the true wonders that music can create upon the souls. Showing the more natural sounds of atmospheric brilliance through his early works. With the heavy, more furious sides of music. Possessing very harsh surroundings in a medieval visualization, and then to persue a light more peaceful side. Even with war, there must be peace. Mortiis is able to capture both sides of the spectrum through this second journey known as Anden Som Gjorde Oppror. Mortiis is also able to conclude both epics with a climatical ending that reaches much higher plateus each time.

This album cannot be denied as a brilliant work of art. Mortiis is able to display every feeling in a manner so clear with this release. From the more angered emotions, to the victorious feelings, to the darker emotions still lurking in the shadows. Everything in put together into the perfect formation to show all aspects of the story being told. Much like Fodt Til A Herske, Anden Som Gjorde Oppror was able to tell a story with not a dry moment. All of it remains a beautiful essence of the true art behind his musical brilliance.

There is no questioning of Mortiis' creations. This album is clearly parallel to Fodt Til A Herske with the true feeling of Mortiis lying right inside the undertow, but at the same time has a soul of its own that is sometimes hidden under the shadows of Mortiis's first release. Everyone will remember his very first masterpiece, but this one shows an equally, if not more powerful beast as Mortiis is able to mature his sound. When in comparison with the predecessor it's clear that Mortiis has evolved through the time between the two releases as he makes a more complete feel with this second album. It can no longer be shadowed and break out of the cacoon as it brings its own spirit into existance with two new epics which keep the body of Mortiis' music, while expanding the horizons into the very peaks of each mountain, and higher into the heavens of musical beauty, power, and epic brilliance.

LAMMAS (01 August 2011)

The musick dedicated to this Sabbat is:

DER BLUTHARSCH

THE TRACK OF THE HUNTED



Original Issue: 2000 WKN (WKN 10)

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Margot-meter: 5 moons / 5

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Do not forget to take a look at the comments section :-)

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from Stereo Invaders (Google Translation from Italian :

"The trace of the man who is prone to hunting," fate, oppression, predeterminism, escape, violence, foreboding, anxiety, grief, all this is contained in the title of the album and the music it contains. In perfect consistency with the ideal artistic vision and content by Albin Julius, Der Blutharsch. Dark ambient, martial neofolk with drifts; Titanism atavistic, primal well-commented that it would corrupt the exploits of Roman patricians, or the exploits of the heroic classicism of Prometheus, in constant struggle with adverse fate and divinity. If someone is pushed to label as "sacred music" that consists of Julius would certainly shocking and unorthodox in his thinking, but not so far away from the essence of true. Many ethnic and popular music (folk) got the basics of the Austrian composer to write this "TTOTH". We are in the presence of the usual track list (10) untitled; "let the music do the talking" to put American and undoubtedly contributes to donate so much mystery also the right atmosphere to the project Der Blutharsch. For those wishing to necessarily references, except the understanding that Albin Julius is very unique, I could mention a few moments of Death in June (with which our works well) and Ordo Rosarius Equilibrio, although compared to the Swedes there is less room for the esoteric and the occult here, however, the greater the interest in the human comedy, made of misery and nobility, power and submission. Albin plays and manipulates samples like no other, creating real works of symphonic ambient neofolk post-industrial, able to lift the soul of the listener and land at the same time. The track number 9 in particular is a sample (shown in full) of a 30s song in German, probably a song that he met his fortune under the Nazis. Fascist and neo-Nazi epithets are often saddled with Julius, so in the past prevented him from concerts in Israel, and this is largely due to the use of iconography and issues close to the Third Reich by Julius. A course nothing is worth the net claim against the person concerned, or his firm will be able to play in the land of David.

FULL WORM MOON (19 March 2011)

The musick dedicated to this Esbat is:

IN SLAUGHTER NATIVES

IN SLAUGHTER NATIVES


Original Issue: 1988 Cold Meat Industry (CMI-04)

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Margot-meter: 4,5 moons / 5

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Swedish industrial act, formed by Jouni Havukainen in 1985. ISN has used many different sounds over the years, from dark ambient soundscapes to martial industrial stompage to neoclassical orchestration.

PINK MOON (feminine musick)

WHITE RUTH

FLOWERS OF EVIL (An Electronic Setting Of The Poem Of Charles Baudelaire)


Original Issue: 1969 Limelight (LS-86066)

Reissue: 2006 Creel Pone (#47) Buy it here!!!

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Margot-meter: 5 moons / 5

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

1 The Clock (3:03)
2 Evening Harmony (4:05)
3 Lover's Wine (3:01)
4 Owls (2:48)
5 Mists And Rains (2:10)
6 The Irremediable (4:58)
7 The Cat (3:31)
8 Spleen (2:56)
9 The Litanies Of Satan (6:56)

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from Mimaroglu:

... back again after last week’s mishap (don’t ask) with an absolute corker of a creel pone - the setting of a set of poems by charles baudelaire to electronic instrumentation & vocal treatments, as realized by ms. ruth white in mid-1969.

a sampling of any of the text(s) below (baudelaire was heavy, man...) should tip you to just how creepy & dark the vibes emanating from within this record are exactly. ms. white’s posessed monotone-through-echoplex-through-vclfo-gate throughout is just bone-chilling, her howling synth & noise backdrops so perfectly capturing the “southern” essence of the text that it’s hard to believe that these poems weren’t conceived in the era they were realized here (the just pre-altamont “downer” hippie zenith), but in fact in the middle of the 19th century!

certainly a creel pone more on the psych-end of things, but nonetheless a bizarre and terrifying vision into futures past-future that should speak to the inner satanist. those who felt the “doomy” waves warping out of the warren jepson creel pone should follow suit herein...

BLACK MOON (the dark side of musick)

GALÀS DIAMANDA

THE DIVINE PUNISHMENT

Original Issue: 1986 Mute Records (STUMM 27)

Reissue: 1989 Mute Records (CD STUMM 33) Buy it here!

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Margot-meter: 4,5 moons / 5

Diamanda Galàs: the woman (in musick, but probably in art in general) I admire most...intelligent, provocative, uncompromisable, theatrical, extreme...and even sexy!

Faint-of-heart...PLEASE DO NOT LISTEN TO THIS RECORD!!!

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

1. Deliver Me From Mine Enemies
1. This Is the Law of the Plague
2. Deliver Me from Mine Enemies
3. We shall not accept your Quarentine
4. Deliver Me
5. Yiati O Ozoe
6. Psalm 22

2. Free Among the Dead
1. Psalm 88
2. Lamentations
3. Sono L'Antichristo

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from Epinions.com:

In the eighties Diamanda recorded a trilogy of albums about the AIDS epidemic. Each of the albums of the trilogy focus on different aspects of the epidemic and feature totally different musical approaches as well.

The Divine Punishment is the first of the trilogy and is perhaps the most avantgarde and unmusical of the three. This album focuses on society's judgment on the diseased person and is composed almost entirely of her readings of various old testament texts.

Her voice sometimes uses a mocking nasal tone and sometimes a stretched moan and the biblical texts feel totally alien with droning synthesized background noises added. This really doesn't qualify as music but perhaps more as a really experimental spoken word performance though some wordless and beautiful Arabic style wailing that Diamanda often uses appears as well.

The album consists only of two long tracks but contained in these two tracks are many different "songs" or recitations as well as some moments of wordless vocals including the previously mentioned wailing as well as strange multi layered groaning and other even harder to describe sounds.

The album only breaks of from this scheme in it's last few minutes when Diamanda over booming piano chords performs the only lyric not lifted from the bible but written by herself in Italian called "Sono L'Antichristo" which means simply "I am the Antichrist".

Here she howls such phrases such as "I am the holy fool" and "I am the butchers meat" as well as producing perhaps the most inhuman screams of her career. The meaning of this track is to portrait an homosexual or AIDS positive individual scorned by his society giving in and saying: yes! I am just as evil and depraved as you believe me to be!

The final moments of The Divine Punishment sets the stage for the second installment of the trilogy "The Saint Of The Pit" which focuses more on the view of the AIDS infected person himself.

Boffo

GHOST MOON (imaginary musick)

CARETAKER (THE)

SELECTED MEMORIES FROM THE HAUNTED BALLROOM

Original Issue: 1999 V/Vm Test Records (OFFAL02) (Buy it here!)

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Margot-meter: 4,5 moons / 5

The atmosphere created here is superb, taking old 78s and drowning them in mental distortion, going some way to what was going on inside Jack Nicholson's head in the film "The Shining" (inspiration for the project and one of Margot's favorite) - www.discogs.com

Here you can read an interesting article about Hauntology.

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

1 The Haunted Ballroom (3:44)
2 By The Seaside (4:00)
3 One Thousand Memories (1:25)
4 Haunting Me (3:48)
5 A Summer Romance (3:05)
6 Den Of Iniquity (2:45)
7 Dream Waltz (3:29)
8 A Handful Of Stars (3:34)
9 Request Dance (5:09)
10 In The Dark (3:02)
11 Reckless Night (3:02)
12 Thronged With Ghosts (3:48)
13 From Out Of Nowhere (3:45)
14 Friends Past Reunited (2:00)
15 You And The Night (3:12)
16 Moonlight Seranade (2:34)
17 Disillusioned (2:41)
18 The Revolving Bandstand (0:47)
19 Garden Of Weeds (3:06)
20 "Excuse Me" For Ladies (0:59)
21 In Days Of Old (2:14)
22 September 1939 (1:57)
23 Thanks (3:25)
24 The Haunted Ballroom (3:20)
25 Untitled (3:29)

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from The Caretaker homepage:

Dusty and forgotten memories, echoes and vibrations from the past.
Using as source, recordings from the 1920's and 1930's era of Ballroom music.
Often painful and desolate memories, recalled and replayed from beyond the grave of our senses.
In amongst this darkness lies the solace of a semi-recognizable melody or phrase, a beacon of light in this often dark and distant ocean of haunted recalled audio.

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from Boomkat:

The Caretaker has always been the more thoughful alter-ego of V/VM - the Stockport based butchers have been grinding up sound for quite some time now, and this full length was originally released way back in 1999.

A nice diversion from the demonic plugin-fuelled insanity of their more well known work, Caretaker instead goes for industrial ambience. Think Skinny Puppy’s more cinematic moments and you’ll be somewhere in the right area – what I love most about this album though is the kind of reverberating fairground mood.

Seaside organs hiss and hum in the background and give the record a persistent menace, a thick nostalgic groan which reminds me of Jeunet and Caro’s shiver inducing ‘Cite Des Enfants Perdus’ or maybe even more fittingly David Lynch’s ‘Eraserhead’.

Vinyl crackle rings out across the album as if it’s being played as an instrument and before long you’ll be certain you don’t live in the real world anymore. Utterly unique and really quite scary, in the best possible sense.

BLACK MOON (the dark side of musick)

NAKED CITY
ABSINTHE

Original Issue: 1993 Avant (AVAN004)


Margot-meter: 5 moons / 5

1 Val De Travers
2 Une Correspondance
3 La Fée Verte
4 Fleurs Du Mal
5 Artemisia Absinthium
6 Notre Dame De L'Oubli (For Olivier Messiaen)
7 Verlaine Part One "Un Midi Moins Dix"
8 Verlaine Part Two "La Bleue"
9 ...Rend Fou

IF YOU HAVE ANY INTEREST IN THE MUSIC POSTED ON THIS BLOG, YOU MUST HAVE A LISTEN TO THIS ABSOLUTE ISOLATIONISM (or call it whatever you like) MASTERPIECE!

FIRMLY IN MY TOP-5-ALBUMS-OF-ALL-TIMES CHART, THIS IS A CHILLING JOURNEY INTO THE "HEART OF DARKNESS" OF (POST) MODERN MUSICK!!!

from Amazon:

This is the most abstract and weird of Naked City's albums. On previous works, Naked City amalgamated nearly every style of music under the sun. Here they engage what is virtually the only genre left untouched, producing a masterpiece of avantgarde ambient music.

One might conclusively associate Naked City with one-minute lunatic songs that wildly rebound across myriad genres. While that is what most people certainly KNOW them for (I think), I feel that this is the most important and definitive album they have done, capturing the pure, underlying essence of their music -- for the first time free of prodigality and embellishment.

...

I have to warn you about listening to this in the dark: it is a very disorienting, uncomfortable sensation, leaving you feeling trapped in an all consuming gargantuan maw of emptiness and fear. The album itself is not very long, but still long enough for unease to grow into panic -- for panic to augment into terror -- for terror to bloom into desperate agony.
You listen to this, and you understand...DAMNATION.

Exaggeration? NO! Well, a little. Whatever one's subjective reaction might be to the sheer DARKNESS of this album, one cannot deny that it is meticulously composed, beautifully recorded, and full of interestingly bizarre instrumentation (from the official description: "Joey Baron plays bags of dry leaves, fishing reels and buckshot, Bill Frisell solos on a microtonal guitar, Wayne Horvitz samples everything from crickets to Giacinto Scelsi, Fred Frith does what he does best, and Zorn doesn't even touch the saxophone").

The songs...err, "pieces" are all flawless and invariably compelling. "Val de Travers" is the first nightmare, darkly exquisite and frightening. "Une Correspondance" has a lot of clanging metallic clanging sounds and weird effects that makes me think of an evil blacksmith's shop in Dis, with an ending that sounds like a demon wizard enchanting a sword of black steel with dire spells. "La Fee Verte" sounds like the soundtrack to a trip down the River Styx through the Underworld. "Notre Dame De L'Oubli" edges the most closely towards beauty -- a tranquil piece of ghostly sustained guitar crying over a pulsing heartbeat. "Fleurs du Mal" is little more than distant rumbling sounds that modulates in agitation. "Verlaine" part One is structurally the most conventional Naked City pieces, hazily drifting between bizarre blocks from strange vocal mutterings from Zorn, to phased-out piano ostinati, to eerie gamelan textures of weird percussion and sounds. Part Two is microtonal guitar pointillism coming through a soupy film of sound. "Artemisia Absinthium" sounds like strange insects buzzing around the Dark God of the Machines while He slumbers. "...Rend Fou" is six minutes of carefully composed, layered static -- it might sound dumb to some people but it is one of the most intense, quietly frightening things I have ever heard.

"Radio" and "Naked City" might be the most fun. "Torture Garden" and "Leng Tch'e" might be the most brutal. But "Absinthe" is the Naked City album that sears an impression on your soul that is with you from the first listen.

"Absinthe" is a masterpiece that no hardcore music fan should be without.

Lord Chimp