Terrorizer presents: The Devil's Music
May XLVIII / 2013 c.e. Dark Arts Ltd., 99 pages. Genre: Music, history, literature
Many are the masks of Satan, archetypically manifesting in all genres of the arts in one form or another. From the diabolical gentleman, to a demonic monster, a reflection, even a God, metaphor, and everything in-between. After all, the realm of theater, the imagination, mystique and charm are the foremost tools of Satan, the psychodrama of the mind as a portal to that great Abyss within, enhancing for entertainment, and philosophically, in a careful balance to those who truly ride with The Devil.
I happen to appreciate an eclectic combination of genres in music, film, literature, and aesthetics. Musically, from Classical, operatic, orchestral, choral, to ambient, instrumental, retro pop, jazz, blues {even some country and 'ethnic'!}, rock, Goth rock, Metal, and various sub-genres therein; and they all depend upon the mood and purpose at the time.
Now, I do not normally acquire Metal magazines, but this particular collection has amalgamated many of the choice musicians from this genre I appreciate, along with histories, interviews, hellish illustrations throughout, and comes as both reference material as well as evocative enjoyment while also supplementing such tomes as Lucifer Rising and Lords of Chaos.
Black Genesis
From a publication like Terrorizer to feature "The Devil's Music", it actually does a sterling job with an introductory history of some of the nefarious origins of those composers who expressed their own pacts such as Wagner, Paganini, Tartini, Strauss, & Liszt. There are others of course, but these are addressed herein. From Diabolus In Musica, The Devil's Tritone, to plays inspired by Milton's Paradise Lost and Dante's Inferno, and of course, the masterpiece opus Götterdämmerung.
* Further reading: "Satanic Music: That Old Black Magic". [Appendix II, The Church of Satan by Blanche Barton, p. 149]
Satan Takes A Holiday at The Devil's Ball
We then move onto further manifestations at the crossroads with Irving Berlin and Robert Johnson. Mentions of Chuck Berry, The Rolling Stones {His Satanic Majesty's Request, of course}, The Beatles {Sgt. Pepper's Lonely Hearts Band's inclusion of Occultist Aleister Crowley on the album art}, even Elvis {the gyrating hips, & who with The Beatles, proved to be 'The Devil in Disguise' with fainting generations acting in kind}, & Johnny Cash, with nods to The Devil with canticles like 'Ghost Riders in the sky', 'Ring of Fire', 'Thirteen', 'The Beast In Me', and other songs. Incrementally through history, we can see how The Dark Force has weaved through the entertainment industry, inspiring entertainers and musicians to extoll The Prince of Darkness by expressing their own creativity and dark sides.
Children of Blood & Fire
Herein we move into the various sub-genres classified as Metal, beginning with articles on Doom & Goth Metal, to Black Metal & Death Metal; with their progeneration, and current evolutions.
Interviews / band biographies include that with Jinx Dawson of Coven, a marvelous feature on King Diamond & Mercyful Fate with interview, followed by Darkness Descends: The Culture of Dark, Satanic, & Ritualistic Music, which attempts to trace some of the genre's nefarious origins from Satanism {in which Jason Mendonca of Ackercocke actually explains it reasonably well for the quip}, to The Knights Templar, the Ouija Board, and Witchcraft from the Middle Ages; Under 'The Devil's Culture' section, the article 'Come To The Sabbath' lists several enjoyable horror movies like Black Sabbath, Dr. Terror's House of Horrors, From Beyond The Grave, The House That Dripped Blood, The Devil Rides Out, and many others, notably The Wicker Man, as diabolical influences upon the Metal strata for theatrical cues & lyrical content, which is undeniable.
Black Metal is discussed next in its own section, with origin articles of same, featuring an interview with Cronos who favorably observes the development of the genre he named. In 'The Second Coming', Dani Filth grants his own impressions of the genre's procession with some personal relations. An article on the band 'Dissection' relates the late singer's opinions on his 'spiritual' meanderings; there's also interviews with Kev Bower of Hell, Pagan-oriented Martin Walkyier of Sabbat {"Reasons To Be Heathen"}, Brian Ross {Satan, Blitzkrieg, Avenger}, Jaz Coleman of Killing Joke, and further down, a great article on Ghost B.C., "Uncle Acid & The Deadbeats" {Doom}, Purson {beautiful darkness}, & the promising Satan's Wrath.
A definite favorite section is the 'Wicked Women' segment dedicated to some fiery females with brief biographies, featuring the likes of Jinx Dawson {Coven}, Rosalie Cunningham of Purson, Farida Lamouchi of The Devil's Blood, Liz Buckingham of Electric Wizard, Chelsea Wolfe, Jess & The Ancient Ones, Sera Timms & Kelly Johnson {Ides of Gemini}, Shandra Fredrick {Demon Lung}, Ajia O' Brien {Blood Ceremony}, and Jex Thoth of Sabbath Assembly. Further in the issue under the section "Fresh Sacrifices", a corollary piece with elaborations of same, along with several other newly 'baptized' bands {including Ghost} traveling upon the river Styx to join the fray.
An article on the history of Satanic Panic era is included, detailing some of the bands who were blamed by fundamentalists as leading children to Hell, from Iron Maiden to Led Zeppelin, AC/DC to Judas Priest, and of course, Venom & Slayer, various superstitions, mythology, and it is a good inclusion to clarify some of the personal beliefs of some of the musicians herein, some who consider themselves Satanists {with King Diamond being an actual member of The Church of Satan}, others who are actually anti-christian devil-worshipers, to various other occult beliefs and traditions, many who use the aesthetics for shock value, all from the serious to the flippant. Hell, there's even a section on so-called "White Metal" entitled 'Once Upon The Cross' {amusingly named after the Deicide album}, who are really missing out on the fun.
The issue concludes with 'The Devil Has All The Best Tunes', which lists 75 prominent albums {of the Metal genre, that is}, with the subsequent 'Devil's Essentials', an alphabetical A-Z listing of terms, including 'D' for The Devil, 'K' for King Diamond, 'L' for Anton LaVey, 'P' for Pentagram, 'W' for Wagner, 'T' for Tritone, and 'S' for the ubiquitous 'Six Six Six', of course.
Overall, this issue is indeed a gem on Metal's fiendish history and reputation, which definitely supplements the books Lords of Chaos and Lucifer Rising. Recommended to bring to the party and/or the 'music history' class, while recognizing the "fingers which dance upon the strings like fire". ∞
Traversing the levels of Hell, The Devil's Mayhem yields the Dragon arising through the Crucible of the Infernum in fury and unholy wrath. Along with the principles of Malefic Musick consideration, this opus fulfills the 666 points of The Beast 'HatEviLust'.
Musick: Relentless, demonspeed launching as fiery darts across The Black Earth, into brain and body, strengthening with Abysmal Power, and inspiring possessed sinsation of infernal bliss.
Aesthetics: Gaze into The Pit to witness this impressive rendering of transmutating souls swirling in the nightmarish nether regions, courtesy of horror artist Juanjo Castellano Rosado. The CD itself displays the Demon unleashed by playing this composition.
Lyricks: The booklet opens like a portal where three shadowy robed ghouls* emerge to deliver your hellish hymnal.
Canticles
I. Imperium of the Lawless One: The principle of Divide & Conquer - infiltrate, wolf in sheep's clothing, exacerbate, imitate, subjugate, manipulate; so-called "blasphemy of the holy ghost", and alludes to 'The Abomination of Desolation'.
II. Icons of Revolt: Rebellion which leads to pleasure and independence, the indulgence of lusts and sweet perversity sublime. Revolution that brings forth Devilution, to evolve in pure Satanic grace.
III. From Crypts of Bloodlust: Grants the impression of the plot from The Satanic Rites of Dracula, with an apocalyptic vampiric theme - immortal evil triumphant laying waste detractors and victims, often one in the same.
IV. The Crippler (Sodom cover): An anthem of brutality of a veritable demonic gladiator crushing all who dare defy.
Truly in league with The Devil, Blasphemic Cruelty features the thunderous reverberations of Gina Ambrosio {"Drum Witchery & Clandestine Assassinations"}, the genre's foremost female drumming talent; Alex Blume {"Seismic Terror & Deathly Curses"}, and Gene Palubicki {"Voltaic Poison & Howling Wretchery"}. If you appreciate fiercely wicked skullcrushing possession, this opus will be well pleasing. A Mighty supplement to The Devil's Mayhem {XLII}. ∞
_____________ * Reminiscent of Tombs of The Blind Dead. Lyrics for The Crippler not included.
Blasphemic Cruelty: Devil's Mayhem
{XLIII A.S. Osmose Productions.
Gene Palubicki: Lead Guitar, Vocals {"Sadistic Vengeance Fleshsaw /
Auxilary Death Exhalations"}; Alex Blume: Lead Vocals, Bass Guitar
{"Volcanic Rumbles / Hellish Blasphemies"}; Gina Ambrosio: Drums &
Percussion {"Corpse Skin Death Drum Rituals"}. Genre: Death / Thrash
Metal}
For those who wish for a raw expression of this genre, harking unto Possessed, Sodom, and Morbid Angel, even shades of S.O.D. and F.C.D.N. Tormentor,
these seven songs of infernally-ferocious assault from Blasphemic
Cruelty delivers the extreme-velocity and heaviness you crave.
Of note, within this brutal triad convocation,
Blasphemic Cruelty features the surprisingly exceptional talents of
female drummer Gina Ambrosio, a member of the infamous Church of Satan.
With beautifully-diabolical cover art by dark artist J.P. Fournier,
and demonic CD art featuring a pitchfork-wielding bearded devil
emerging from the pentagram, orchestrations herein are precise and
unrelenting. with horror-themed blasphemies plunging the depths of
nightmarish invocation.
[Complimentary CD courtesy of Ms. Gina Ambrosio]
V/V/XLV: Arriving today at The Havnted Noctvary is a complimentary package containing no less than a vinyl LP with poster within {containing lyrics & the image of the band on one side, and that delightfully diabolical fresco from the cover of the album on the other - and I do love Me some vinyl for resonant timeless appreciation, especially when displaying such classically fine dark art, in My estimation, suitable for framing - indeed, some Black Metal albums do contain some impressive artwork, and fortunately, this is one of them}; two XL T-Shirts {one black, one red, for casual "Lair wear" when so inclined}, bearing the image of a demonic woodcarving of a devil emerging from The Pentagram {and I do appreciate such arcane depictions conjured up as if from the pages of a "grimoire"}, wielding a pitchforked stancheon.
GrotesqueUphoria Bred To Be Your Enemy
{XLI A.S. Genre: Death Metal. Bass/Vocals: Zoth Ommog, Leo Bakman: Guitars, Drums/Vocals: Gabe Madsen, Guitars/Vocals: Sam Lara}
Track List: 1. Bred To Be Your Enemy 2.
Box Cutter Butcher 3. Decimation of My Foes 4. Mind Prison 5. Divine
Corrosion 6. Crucified 7. Of All Truth Seeking Whores 8. Sewer Crypt 9.
Death March
In
the visual style of The Grande Guignol, GrotesqueUphoria brings forth a
relentless sonic slaughter with infernal vocalizations by Church of Satan
member Zoth Ommog, aside with Madsen & Lara - to form a veritable
chaotic chorus of some of the most bestially-demonic voices in the
genre, combined with these sinisterly intricate compositions,
manifesting a hellish nightmare not for the faint of heart.
GrotesqueUphoria is one of the select few Death
Metal bands who can actually boast a genuine Satanist in its line-up,
which seems to add a certain unique diabolic element to whatever
endeavor it happens to be, and it can certainly be felt.
Lyrics tend towards the brutally-realistic, from social
commentary on hypocrisy, misanthropic contemplation, to gore, and
religious scrutiny, created in a horror-psychodrama style. Of
particular note, "Death March", written and performed by Zoth, offers
morbid martial instrumentation with audio clips featuring news reports
on crime in the world.
GrotesqueUphoria recently played two songs on
Fangoria Radio, hosted by an impressed Dee Snider {segments available
on their site}, causing a discernible reflection by the Metal legend,
and that is rare indeed.
For those who listen to Death Metal, GrotesqueUphoria
represents the optimum in this musickal genre, and are destined to make
their devil's mark.
Dare to knock on the door of this mirthsome dimension, to either be at one with the predatory archetype displayed, or consumed in either fear, or gratification...
I. Infernal Overture: A majestic introduction worthy to herald the entrance of The Lord of The Earth, and inaugurate this malefik masterpiece.
II. Synergies: Conjoined integrations blend into shadowy energetic forces, forming both wondrous and terrible spectacles of the imagination, and the attraction of likened resonance compounding one's empowered being.
III. World Without End: With an appropriate Vampiric-sounding violin recycling myriad tonalities, this grants the impression of Constant regeneration, ever preserving beauty and strength.
IV. Ego = God: A memorable composition presenting a gratifying reversed music effect at times, overlain with waves of timelessness.
V. Cycling Eternally: A ponderous piece which floats in the air with a haunting somnambulence, hypnotic and brooding.
VI. The Black Dragon Conclave: Another majestic fanfare which would be quite fitting for a meeting of devils in the shadows of the earth.
VII. Der Wille Zur Macht: Strings punctuated with the beating of drums, unstoppable, perpetual. A tribute to the omnipotent Will materializing what one desires.
VIII. Metamorphosis: The evolution of The Self into higher states of being, and even that of lycanthropy, framed by a transmutating organ echoing eerily into the darkness.
IX. Kingdom: Rising up from the distance, ever closer to manifestation, by the sound of the gong, visions of a kingdom flickers in a dream, crossing dimensional portals wherein one can hear the denizens of the-is-to-be. A vision made reality.
Overall, Ego = God is a sonic journey into Might & Magic, resembling the works of Phillip Glass, with shades of Threnody For Humanity, and would make a fine horror soundtrack, also complimenting certain nocturnal activities. A potent emergence for The Invisible War, & the talents of this veritable Sonic Sorcerer.
The Invisible War
{XLIII A.S. Composer: Jan Welke, Minister of Malefick Musick}
1. World Without End 2. Cycling Eternally 3. Der Wille Zur Macht 4. Metamorphosis
What
lies behind the old oak door in this dark and gloomy place? Grasp the
leonine knocker to unleash hauntingly somber orchestrations from the
Minister of Malefick Musick, Citizen Jan Welke {a frequent contributor
to The Devil's Diary}, who also brought us the primal rage of Jan Not Jackson - herein we welcome another maestro to the fold - we are treated to moody and atmospheric musick in the vein of Nox Arcana and Le'Rue Delashay.
World Without End: Projects an aristocratic ambiance, while reaching into the ether, becoming one with the timeless night.
Cycling Eternally:
One derives the impression of amorphous incense transmutating into
ghostly shapes, manifesting thought-forms by the candlelight of the
Chamber.
Der Wille Zur Macht {The Will To Power}: For the meditation of focusing the Almighty Will unto materialization with ponderous instrumentations.
Metamorphosis:
My personal favorite from this opus, this piece utilizes a spectral
organ fit for any haunted mansion, and the visualization of vampiric
transformation.
The Invisible War offers contemplative
echoings to accompany your foray into this enchantingly evolving
musickal maze of the Left-Hand Path. Experience the darkness...
Masterful, inspirational. A rare black gem to be sure, combining the classical with the subtly Gothic, likened a combination of Nox Arcana & LeRue Delashay. An ingenious plethora of blissful transitions grace the opus like the branches of a skeletal tree underneath the full moon.
I. Semjaza Rising: A dread force emerges... manifesting from the ebon darkness, appearing shadows manifesting like incense, hauntingly eerie, floating specters rising from Hell. Captures the sensation of the gathering of energies for the impending working to come.
II. Ultima Diaboli: Brooding, plucking at strands of consciousness, kettle drums yield sweetly dripping poisonous nectar.
III. Novus Ordo Seclorum: Majestic military pageantry, asserting a mideival marche into forbidden territories, wind blown banners ripple, claiming victory with every discovery.
IV. Philanthropy Eviscerated: By the light of a candelabrum, a melancholy violin is joined by piano, reminiscent of Dark Shadows. Perfect for a rainy night and a well-worn book.
V. Malleus Maleficarum: Strings, ominous kettle drums, portray the insane urgency of the oppressive mood when this text featured prominently throughout the process of unjust jurisprudence, culminating in a wonderfully transitional finale making way for the following epiphonous ecstatic repose...
VI. Euphoria In The Reign of The Light Bringer: Jovial, playful, jaunty. Actually inspires a sense of well-being as the title would suggest. Another marvelous transition about midway point enriches a return to the blissful onset.
VII. Imperium Et Libertas: Bestows a sense of liberty, soaring upon the wings of Lucifer. An uplifting orchestration.
VIII. The Sigil of Baphomet: An enchantingly mystical piece, a swelling chorus of dark angels; while a foreboding silence descends, introducing a single oboe to the ether, black noise sets The Devil's tone, with hell-bell punctuations sealing the Is-To-Be. Depicts a ritual impression.
IX. Lex Talionis: One perceives the sense of the wheels of diabolic justice turning, the acquisition of vengeance, the natural progression of balancing the scales.
X. Love Songs of The Left Hand Path: Beautifully gentle fluid harmonies. Ur sound proliferation emanating the essence of the compassionate, with an aristocratic ambiance of romanticism. Dreams in The Garden of Dark Delights.
XI. Non Servium: Noble, darkly angelic choir, poingated with harpsichord, and penetrating, encompassing Ur Sound quality.
To gratify the visual aesthetics, complimenting that conjured from the theater of the mind, the cover features 'The Statue of The Fallen Angel' from Retiro, Spain by Ricardo Bellver, and the fallen angel motif of "Paradise Lost" on the reverse side as crafted by Gustave Dore'.
Overall, Semjaza has a very soundtrack feel, making for an ideal meditation in multiple notable movements of transitive sensation. The Composer has found his primary genre, in My estimation, with these divinely unholy, Luciferic permutations. If this opus inspires sublime sonic gratification, it is pleasing to consider an eventual subsequent offering may be in the creation. Highly recommended. ∞
{As an aside, if so inclined, you may also wish to experience Meistro Grey's compositions in the Metal genre, by the name of Thorn Fetish}.
Jan Not Jackson
{XL A.S. CD: Self-titled. Jan Welke: vocals, Deacon Dunlop: guitar, Ohyun Kwon: guitar, Robert Sommer: bass, Jan Schulz: drums}
German Punk in the vain of The Exploited, Black Flag, and some discernible Germs
influence. With surprisingly clean composition and delivery, the
hardcore presented here contains rhythm and harmonies quite rare in the
genre, and will have a hoof tapping. Intros demonstrate the band's
innate talent with precision uses of mood-setting guitar work, and Jan
Welke's vocals add that essential combustible element.
Considering the clever sarcasm of the facetious band
name, Jan Not Jackson acts as an accusing devil in a humorous
undertone, with songs dealing with the so-called "emo" travesty
{gutless "pop-punk"}, media stupification, brain-dead burned out
losers, and cheap Japanese influence, among other sadly relevant
subject matter, which nonetheless needs to be raked over the coals from
time to time.
Jan Not Jackson preserves the true rebellious essence of Punk pioneers like D.R.I. and S.O.D., with a refreshingly catalystic style which needs to be re-invoked.
Rating: 5/5.
* Website: Includes contact information. mp3's available.
While I do not normally listen to this genre, sometimes
a listen catches My attention, and I feel compelled to comment on it
based on a recommendation. In this case, I was pleasantly surprised when
I received this in the mail as part of an order from Church of Satan
and OBD member Jan Welke.
Atmospheric
Dance/Trance/Industrial mood musick conducive of relaxation and vice.
What would possibly go very well in the background of a sinemaerotica
presentation, and/or accentuating the "sin" of the carnal indulgence in
The Lair.
* Unnerving Tranquility
Rolls of thunder and sinister laughter with a mellow
tune places one on a placid rainy night with droplets cascading along
the window paine, seated comfortably upon that chair in the den by the
fireplace, or witnessing and/or participating in sublime debauchery at
a contemplative pace.
* Paper Mask
A steely sadistic feel from this song, as if enunciated by a cyborg in some futuristic dungeon.
* Siknes: Delirium Tremens remix
Danceable serpentine reverberations, in which one can
picture gracefully undulating beauties in a smoke-filled underground
chamber amidst multi-colored laser pulses strobing and beaming through
the darkness.
* Insomnia
A trans-muted lustful beat vibrates heavily, shifting
and pounding as if through an intoxicating ecstatic state, hypnotically
over-looping one upon another. Warning: played forcefully enough, it
may cause disorientation and a loss of inhibition upon an audience.
Recommended.
My personal thanks and appreciation to Mr. Deville for this complimentary copy. Hail Satan!Tier Instinct: The Chaos Magnet
XLV A.S. Genre: Instrumental, Narration.
The Chaos Magnet contains a splendid mix of genres exemplifying the innovative implementation of various sound effects, instruments, with the vocals being strong and clear. TCM is well produced, with instrumentations applied throughout really speaking for themselves, asserting an evolution of style. The introduction and conclusion creates a ritualistic feel overall, with wonderful uses of elemental permutations accenting these potent infernal reverberations:
The Opening: Deep bells resonate from Hell, echoing within a darkened chamber; the shadows shift, as the celebrant asserts The Almighty Will into the atmosphere.
Blasphemy: 'Shilnge' backward masking rises to the fore from the depths of primal being, tribal drums exorcising, with the rhythmic sounds of mental chains being shed.
Hymn To Pan: A strong version of this invocative poem, blending into the enchanting sounds of the sitar, finger cymbals, and even a contemplative flute, portraying an appropriately arcane, erotic harem-like atmosphere, all cascading as rivulets into a fountain of lust.
Two Is One: Course into a blissful, dream-like Ur sound emanation, giving sway to resonating sounds of the unconscious, and a return to a conjoined ecstatic repose.
Chaos Magnet: Physics in flux, even unto the molecular level, psychological, bio-magnetic forces, penetrating transformations, attraction, dispersal, preservation, with a subsequent clarity of perception. A delicate, empowering balance sustained.
Rise & Release: A timeless return in carnal contemplation to cultures of suitable integration.
The Black Dragon Conclave: Set to a diabolical narration, this impressive piece gives the impression of an unrelenting demonic helltrain, complete with black & white noise permeating, with the voice as a veritable "third side" enunciation.
When Children Kill: The haunting sounds of ghostly children at play maintains an eerie element herein, complimented by that infamous limerick turned deadly lullaby, as well as actual news reports from that darkly historical event.
Tier Instinct: Thunder rolls and lightning strikes during a reading of The Seventh Satanic Statement & Third Enochian Key, as Nine tolls seals the sonic working.
Closing Credits: A concluding electrical instrumental reminiscent of The Electric Hellfire Club as a finale, what one might expect to hear after a film presentation.
Cover art features a skillful arrangement by Ladie Loki displaying the serpentine dragon Oroborous in the endless cycle of regeneration, encircling the Chaos Star emerging from The Trapezoid gateway of materialization. TCM is aesthetically, sonically, & lyrically gratifying. A powerful opus throughout.
1. Between 2. Man Wolf 3. April Flowers
4. In Through This Devour 5. The Hat Trick 6. Omen I-II 7. Illusions 8.
Awake 9. A Mutual Exchange (Featuring Ladie Loki).
Potent enunciations of Atavistic evocation,
relating everything from fictional horror scenarios, to erotica, brutal
reality, and Magical invocation, which leads to materialization:
In an almost 'backward masking' style, Between is an intriguing introduction presenting demonic voices in contemplative rapport.
Man Wolf: Reminiscings on lycanthropic
metamorphosis featuring the reverberating throes of a mighty
thunderstorm and the fierce echoing of a monstrous hell hound's howl
into the night who unmercifully takes his prey.
April Flowers is a playfully salacious
poem about three witches who make their way downtown on a warm April
night, to the delight of on-lookers...
In Through This Devour blasts a strong and
willful voice calling upon the dread Hellementals unto manifestation,
with distant screams of terror. A familiar experience.
The Hat Trick offers a ghoulish spectacle, and an amusing method to control gridlock...
Omen I-II: A morbid little poem relating
the mysterious circumstances surrounding a boy's father's demise, and
the superstitious translation of relatives.
Illusions brings forth a hypnogogic impression, dream-like and floating through an intoxicating mind brew of spectral visions.
Awake brings forth the demon-beast of destruction loosed from the fetters of pure hatred, as his vile victims cower and are consumed.
A Mutual Exchange is a wonderfully erotic
poem about the transferrence of The Command to Look and mutual
communication of The Mating Signal. Features the sultry voice of Ladie
Loki as the succubus who has chosen her incubus master, while gleefully
constricted in the smooth, cool touch of chains and the sharp sting of
leather.
The splendid cover artwork features 'Death's Clock' by Citizen Aleuranthropy, as a memento mori to the contemplator.
For those who appreciate the spoken works of Boyd Rice, In Through This Devour
features Nine tracks of furious and commanding voices which echo
through the ethers, accompanied by accentuating sound effects to create
a darkly exhilarating ambiance, resonating from the deep subconscious
abyss...
Arising from the fog-engulfed cemetery of horror movie fane, amongst demonic tikis bearing raging hellflames, emerge three ghoulish minstrels resurrecting past orthodoxies with an innovative slant to the left... watch out! It's The Quintessentials!
Satanic Punk at its finest, at times they seem to be a cobwebbed cross between The Misfits and The Ramones, with songs interspersed with clips from diabolically evocative films and sound effects, enriching eclectic songs about zombies, vampires, werewolves, ghosts, dark erotica, and more.
Among the eighteen songs herein, I particularly enjoyed "Rosemary's Baby", "In My Dark World", and "Black Bramford". You can hear some of these tunes for yourself at their website!
The Quintessentials put the "fun" in funeral, and surely remain a veritable quintessential source of delightfully sinister entertainment. Rating: 5/5.
I would also like to state My appreciation to Warlock Les Hernandez for My inclusion within the credits. Hail Satan!
Timescape Zero is a local band from Florida which is attracting much more attention lately in The Infernal Empire because, I can attest to it, this hardcore group is quite remarkable.
While I normally do not listen to much Hardcore / Punk with very few exceptions, but being that I just recently received My complimentary copy, this opus drew My attention, as it contains well-channeled rage with a heavy sound reminiscent of Carnivore, and The Cromags - just aggressive, heavy instrumentations born of luciferic rebellion and fury driven by the fierce black flames of the heart.
Particularly notable are tracks 5 & 10 - "Ultimatum" is the title of one of Mgr. Boyd Rice's narratives, & indeed, it was a delightful surprise to hear Mr. Rice lend his melancholy voice thereof, while dissonant feedback accompanies the misanthropic veritos uttered therein. {you may also recognize a portion also included in Rev. Paradise's Church of Satan video trailer in the mention of "...every organism, every human being, must conquer or serve...this is an Ultimatum."}; and track 10 features a passage from Ragnar Redbeard's 'Might Is Right' manifesto sung furiously by Adel 156.
The "military green" cover displays a depiction of either a freedom fighter or terrorist, pick your choice, clad in soldier motif with a black mask and holding an AK-47, seemingly briefly posing for a quick shot before returning to the spray of bullets.
Also mentionable is the clever inclusion of Chapter 6 from the moldy babble which speaks of The Four Horsemen of The Apocalypse with the names of the members of the band substituted. And the subtle arrangement of their photographs to form a grammadon is a nice touch.
Overall, I found 'Total War' {also the title of the classic NON song} to be a listen in anger, misanthropy, rebellious liberation, poignated with Satanic principles throughout. And this is an enjoyable evilution that has been transpiring in lately, also with the advent of Maninblack {Reverend Schlesinger's band}, The Revenants, The Quintessentials, and Clockwork Satan - that of Satanic Hardcore / Punk, an expression of Iron Youth in this bold new Satanic Age. Two Horns Up!
I received three complimentary CD's from friend Adel Souto of iconoclastic Satanic Punk band Timescape Zero in the Hell-post yesterday, and have been listening to it here and there, and Am suitably impressed by what I heard. The first two titles are projects of Mr Souto, and are brought forth in two distinct musical styles.
* Timescape Zero: Nothing Short of Total War Satanic Punk Rock: A "Prequel" to "Total War", includes 18 demo songs previously unreleased and virulently sought-after up until 'Total War'. The music is raw and brutal, capturing that rebellious angst and pounds like a fist in the face.
* Martini Kulture: God Killing Himself Noise Art: A compilation of experimental industrial sounds designed to focus on the disturbing and the misanthropic. Of particular mention, the CD itself resembles a mini-vinyl record, even with black striations - a very nice stylized touch.
Adel Souto returns from the grave with echoings from those cold pits with music from the very bones themselves. Matching many of his own punk genre orchestrations to ossuary instrumentations with fluctuations in tempo and rhythm, combined with enhancing echoes and accentuations for full sonic saturation.
From the description:
"156 has finally released their newest EP, Memento Mori. The sessions had been recording sporadically since 2012, due to the scarcity of the instruments, as all the music in these sessions were played using only human bones, as well as the human breath passing through human bones. The instruments on Memento Mori include human skulls, femurs, vertebrae, plus bone whistles, and Tibetan thighbone trumpets (kangling).
The Memento Mori sessions have been released on a 9-track, bone-colored 10” vinyl disc - playable at two speeds (33 rpm for Thunderdrone Versions) - available in a limited edition of 489, as well as an 18-track digital version, both mastered by James Plotkin.
Though the music on this release is still in the spirit of early Einstürzende Neubauten, Test Dept, Crash Worship, and Z'EV, 156’s normal use of metal, glass and concrete has been scrapped. Originally dubbed “meditation music for metalheads”, using only human bones has given this output an even more primitive sound than any previous 156 material.
While conceptually multi-layered, the main purpose for this record is to serve as - for those who cannot obtain one - the skull's replacement in the ritual room where a scholar contemplates death in the Renaissance rite of ars moriendi ("The Art of Dying")."
While Demeter & Persephone is in hurried tones, My personal picks are
Winds of Vayu: Totally Necromantic. Consists of boneflutes which emit their tone by virtue of the breath {'Aleph Luciferi'}.
Me-Olam, Ad-Olam: To the sounds of gravedigging, shovel scraping upon the earth, the process has begun.
To My Sons & Daughters: Sounds comforting like the night & grasshoppers.
Chodpa: Traditional Tibetan-style with boneflutes deepened to bone horns.
Environmental
Following these selections, each is treated to a 'thunderdrone' version, which sound like they emanate from the dark, dank, cold catacombs themselves, in an eerily environmental tone.
So along with perhaps drinking from the skulls of one's enemies, one can enjoy music from their skulls & skeletons as well! To visualize along with the opus for either personal entertainment and/or the extermination of a deserving sacrifice for Ritual will supplement unto a multidimensional/sensory experience. Highly recommended as a meditation. ∞
Listen to samples. Possess your copy. Available in vinyl & digital
I-THEIST: None Are Equal
XLIV A.S. by Citizen Shigalyov Weltenfeind. Kulturkampf. Available in CD & digital download. Genre: Darkwave
"I Am The Devil, and I Am here to do The Devil's work."
I-Theist. The term for one who dares place oneself upon a pedestal of deserved pride. A Luciferic principle of auto-deism wherein one is one's own carnal God. The be all, end all, of all.
The skull of mortality there presented contains the Wolfsangel / Wolfshook rune (Eihwaz lightning bolt derivation) symbolizing a talisman of power representing nature in perfect balance. The will materialized; "as above, so below".
One piece blends into another, like subtle shades of phantom specters moving in the dark.
I. The Devil's Work: An eerie introduction to the opus quoted from The Devil's Rejects sets the mesmeric black tone towards satanosonic gratification.
II. Lex Satanicus: Piercing pulsations of deep resonance permeate the senses like merciless blasts from a techno-demon's rhythmic hell hammer.
III. None Are Equal: A meditative piece concentrating upon stratification.
IV. Revenge & Justification: The sound of impending doom descending upon the deserving.
V. Storm of Blood: Fluidic impressions course through the ether accompanied by tones of nefarious transmission.
VI. Youth of Iron: Megalithic sounds of echoing metallic movement scrapes and plunges within courts of stone arranged in a harmonic configuration.
VII. The Age of Fire: Sporadic whispered narrations amidst a raging black inferno where iconoclastic ideas are forged.
VIII. Awakening - The Cold Shower: Hard-driving industrial/metal-style permutations accompanied by various vocal reverberations.
(IX). The Rites of Lucifer.
Whether as an underlying environmental compliment, or particular contemplation, this work and others from I-Theist are ideal for select ritualization and meditation. Allow these nefarious muses to wash over you like waves of a shadowy embrace.
* Also available from I-Theist: Vigilante of Satan. The Night of Retaliation.
I
received this CD in the mail today, and I must say, that there is an
enormous amount of talent herein, and expect great evolutions with this
artist. The Dark Classical orchestrations are splendidly enmeshed with
brilliant guitar work and overall Black Metal amalgamations. No vocals,
which allows one to soar with one's unlimited imagination. I have often
detected the correlations between Classical music and much of the Metal
compositions, but this opus really brings the two out in tandum to
provide an aristocratic and mystical feel. And for a one-man band who
names itself after a line in The First Enochian Key, I consider this a
worthy musickal personafication thereof.
Dark God Metal symphonies. Listening to these apocalyptic sounds, visions of dark skies, sounds of rumbling thunder, & ominous shapes fill the mind. Messiah Marcolin, the Swedish band's diaphram artist, pours forth his operatic expertise to the very heavy & powerful "Doom Metal", manifested in gothic glory.
Commendably, Candlemass is also aware of the importance of visual imagery. Marcolin performs on stage in a black friar's robe, which helps to create the illusion of the arcane.
Tales of Creation
Each album features fantastic cover art, taken from rennaissance masterpieces. Ancient Dreams displays a ghostly apparition of paradise, Nightfall shows a painting of a death angel escorting a man across the lake of death {maybe Styx}. BY far, the most enchanting piece thereon is Bewitched, followed by the haunting piece Black Candles.
Tales of Creation presents a jehovic deity standing upon cumulus clouds, enacting the tales of genesis. Ogling the jackets themselves is like perusing an art gallery.
Nightfall contains a remake of Chopin's classic Marche Funebre. Tales of Creation features brilliant guitar work by Lars Johansson & Mats Bjorkman. Like living in the gothic period with electricity. Ancient Dreams is like a mythological, sonic tapestry.
The Candlemass experience is like being in the world of the gods of olde. It is art. A melancholy, morose, & morbid shadow of a "Pagan Mass." If oblivion was musick, it would sound like this...
Wolves howling, hearts beating, thunder crashing. The Story-teller opens the large book of fanciful cover. The pages sweep you inside the dark realm of vampires, werewolves, maidens, succubi & incubi...
Suffice it to say, these gentlemen are of the "Gothic" pursuation. They know the value of psychodrama, as evidenced in their stage shows, which becomes a virtual gallery of horrors. Gargoyles, tombstones, crypt edifices, autumnal leaves strewn about, skeletal trees, & their own personal costuming ----- like they crawled their way right up from those very graves. The vocalist appears morbidly emaciated, rather like Lestat of Anne Rice fame, after being submerged in the lake. The bassist looks like Lurch, & the others present their own ghoulish attire. They definitely preserve the Halloween spirit wherever they play.
Selected Scenes From The End Of The World
The music is best appreciated by candle &/or moonlight. These nosferatu are brilliant musicians, perfectly timed, perfectly chosen. This is haunted music. In My opinion, LAM just may be the best Gothic Rock that has ever been. LAM is devoid of the annoying whining, but instead, the melancholy voice herein is more powerful, somewhat more robust, & definitely, much more talented. They will go far.
The songs are filled with theatrical energy, deep feeling, & tragic romance. They bring the cemetery right into your room. The music tends to touch you on an emotional level. They stand out in the sea of Gothic bands. Thanatos & Dracula themselves seem to speak through the music. The Gothic-Horror myths come to life.
So come take a trip to London After Midnight, & unto Transylvania, where it is more than just a place, but a state of mind.
DIAMANDA GALAS
Litanies of Satan ~ Plague Mass ~ Masque of the Red Death ~ Malediction & Prayer
The Gates of Hell have opened up, & has let forth this hell-spawned diva. She rains curse & damnation upon the earth - indignation, revelation, & raw emotion, spreading forth like a poisonous mist. This diabolical banshee releases her wrathful vengeance like a black plague, afflicting the hypocritical, & the ignorantly comfortable status-quo.
She is a trained opera singer, & chooses to use that talent to lash out at the xian right, in all their delusional, stagnant, mediocre, ignorant, prejudiced bliss.
She is an original. She has invoked a style all her own, & is unlike anything manifested in the music industry. Her voice has the power to evoke the most powerful emotions, of light & of dark, & everything in between.
She is fond of singing mocking & blasphemous renditions of xian spirituals, revealing the true "spirit" behind those tunes. Most of her music sounds like what could be the quintessential "possessed" music. Like what xians would expect a "demon" to sound like. So, the overall effect, sounds like devils from the xian Hell got together, & decided to put out albums.
Her musical art is not for the squeamish, or the faint of heart - it would give "good" xians nightmares.
Her vocal & oral talents are deeply appreciated, for never have I experienced anything like her.
Beside being enormously well-endowed, she is also quite striking. Her chiseled features, pallor, & dark hair compliment the totality of her music. She would make a wonderful domanatrix. The aesthetics of her performances definitely contain a dark eroticism, & she looks fantastic in her black-clad outfits {lingerae, lipstick, leather, & vinyl}.
The ambiance Diamanda's music exudes, makes for a great meditation. Listen, understand, & most importantly, FEEL...
Diamanda Galas is best listened to in complete darkness, & preferably alone. More than one can impede the effects, unless, in the rare instance that another person with you, will dedicate a dark meditation seriously.
Diamanda Galas sets the madness to flow free. You can hear & feel her passions, & if you are sensitive enough, perhaps you may even be able to see materializations in the blackness.
She spans the spectrum of emotion. There are times when one may feel profound sadness & melancholy; times when one may feel extreme lust; & many-a-time, pure aggression. At imes, she sounds like a banshee. Other times, like a demoness, & sometimes, like a ravenous succubus. There is always an undertone of eeriness & morbidity.
She travels deep into the darkness of her own mind. Perhaps her music will motivate you to explore your own.
If she sounds any bit familiar, then you probably heard her performance in Francis Ford Copolla's production of Dracula. She provided the infernal vocalizations for Dracula's brides.
Through & through, Diamanda Galas is something quite special.
I was delighted to discover that her "Litanies of Satan" release is sung to the blasphemous words of one of our Satanic forebears, Baudelaire, in his version of The Black Mass. It must be heard to be believed!
"She is the weeping moon. She is Lilith. She is Kali. She is Diamanda Galas." ~DB.
If the cover is any indication to its content, DFTD is truly a darkly psychodramatic creation accessing all those subconscious fears in a melancholy horror-oriented style, definitely eviliving up to its aesthetic presentation. I first became familiar with this opus from an acquaintance, and remember it being quite harmonically morbid, at once graceful and chaotic, truly embodying the essence of so-called "Death Rock", yet with a rather theatrical 'satanic' bent, in this case.
Dreams For The Dying combines hypnotically-Gothic melodies with a moderate Metal influence, blended with haunting lyrics and vocals from both legends Eva O and Rozz Williams {RIP}, remaining a veritable Musickal sin-thesis of L'Air Epais / Messe Noir whose successive chapters lead to Luciferian liberation through sacriligeous stimulation.
Beginning with the strains of the organ as if to begin a sinister service, 'Static Jesus' admonishes the nazarene ideal's odious characteristics, providing an apt starting point by identifying the stasis inherent in the delusional anti-life foolosophy.
'Thy Kingdom Come' carries the classic elements of The Black Mass by modifying the 'Our Father'. A ponderous piece worth contemplation.
'Knight Stalker' [sic] is deadicated to one Richard Ramirez, complete with quotes. The infamous devil-worshipping serial killer whose bloodlust claimed numerous victims.
The remarkably imaginative 'Holding You Close' is actually quite a deeply dark romantic canticle, at the point of view of a lovelorn coffin 'embracing' its occupant.
To Me, Dreams For The Dying grants the impression of a sort of demonic Addams Family perspective set to Doom Rock, complete with shilgne backward masking...
Blasphemous anthems, nefarious diatribes, heavy guitar work, the pervasive ghostly organ, classical instrumentation, evocative melodies with diabolically-potent samples accentuate these gloom-laden orchestrations to create quite a memorable album, which manages to manifest an ambiance akin to flickering candlelight casting ghastly shadows and reflections of dancing devils.
Shadow Project was an outgrowth of Christian Death, which defined the Gothic genre and released the infernal trinity of self-titled 'Shadow Project', 'Dreams For The Dying', and 'From The Heart'.
Take a trip into the swirling stargate, boarding a spacecraft, & enter the resident venue therein. Lasers zap about, lights swirl, & everyone there is dressed in futuristic attire.
Hanzel Und Gretyl manages to create a sonic total environment, which I picture being a Geigeresque ship bustling with blinking lights.
Step into the cockpit, staring out into the eternal black - energize! Warp Speed! Off we go!
Take My word for it - the absolute best way to experience this soundwarp is with headphones. Feel the sounds literally enter one ear, pass though your mind, & exit the other.
This musick can best be described as Industrial Metal Techno at warp speed. These cyber-mistrels really crystallize what many bands these days can only attempt ot do.
Most notable for Me, however, were the Middle-Eastern pieces, specifically the song " Astronafti" - veritable Bachannals, which open the doors of the Harem - I can already see the dancing girls...
The subject matter is of the sci-fi variety, with soundbytes expressing "Take Me to your leader", "Malfunction", etc., & the sounds of electronic voices reminiscent of a cylon from Battlestar Galactica.
If you happen to place the CD in your computer player, lo & behold, a delightful surprise! Encoded thereon, is a CD-Rom game to play! A file opens on the screen - just click. Images of the band appear, with different puzzles to solve, artistry, & an accompanying cybertronic soundtrack. Some of the art on the sleeve, & on the game, consists of a Technobaphomet with raybeams shooting forth from the eyes. Techno-Musickal Terrorist Satanists? You be the judge. Overall, great fun. You really get a lot here.
{Not many people know this, but Marilyn Manson's 'Mechanical Animals' contains some of the Rev.'s art on file; Rasputina's 'How We Quit The Forest' CD also contains a CD-Rom game as well as a video.}
My personal favorite on this album is 'The Black Things'. The pounding drums, wailing guitar, crunching, and the malefic vocals with the song about those dangerous black things, subject matters and practices in the shadows when seeking forbidden knowledge and empowerment, in this case, an unfortunate amateur it seems. They'll either seek guidance, study better, or be scared off.
Two videos have been released in "Damned If You Do" and "By The Numbers", but the only commentary I have to say is in the general aesthetic of the band, particularly Mike Howe - why the hair gone? It seems part & parcel for the genre, plus most everyone looks so much better. I can understand Kurt Vanderhoof's bald-headed look, which made its way into Metal once upon a time for its diabolical extreme, as are the sinister bestial warrior locks, and the others still don the killer locks, so...
1. Blood of the Levant [3:27] 2. Man the Machine [3:51] 3. Light-years [4:09]4. Inside Out [4:31] 5. Propaganda Fashion [3:36] 6. Dark Reverie [4:23] 7. Bent [5:59] 8. Inner Unrest [3:50] 9. Launder the Conscience [5:16] 10. Portrait [5:16]
Goddamned beautiful orchestration! Tod LaTorre's soaring vocals {likened Tate's} take one to the heights of The Abyss!
I see the mysterious form opening the bloodred robe, with the logo emerging therefrom, taking flight through the thunderous clouds ascending, who like Icarus' wings, and Lucifer's flight, descend in lightning-bathed tumult to strike the earth in quaking reverberation!
The scales of justice hang therefrom, central spike embedded into the earth, bedrock of logic & reason. The judge stained in blood, punishment that must be done to maintain order.
In My estimation, Queensrÿche's magnum opus is WARNING, followed by the sonically archetypal EMPIRE & the ingenious anthological OPERATION MINDCRIME, but the formulaic vocal style is perfected in Geoff Tate, though LaTorre's simulation is complementary. The music is unquestionably brilliant!
The Verdict is 5/5 for intensity, 5/5 musick, 4/5 lyrical content. ∞
ICED EARTH: Horror Show
{XXXVI A.S. Starring Jon Schaffer: Rhythm, Lead, Acoustic Guitars, Vocals, Mandolin, Keys; Matt Barlow: Lead Vocals; Larry Tarnowsky: Lead Guitar; Richard Christy: Drums. Genre: Metal / Orchestral. 1 Hour.}
An inspired concept album based upon all those wonderful Universal monsters from Dracula to Frankenstein, Dr. Jeckyll & Mr. Hyde, the Wolfman, to the mummy, the Creature from The Black Lagoon, ghosts, even The Phantom of The Opera {Lon Chaney version} and Damien! All gather in this masterful spooktacular to delight the sinister senses with imaginative gratification.
Besides the brilliant orchestration, it was pleasing to hear plenty of keyboards and the pipe organ, greatly accentuating the mood these songs create, both effervescent and at times quite somberly haunting, each including recognizable key phrases from those classic films, which really adds an evocative element.
The curtain parts to rolling fog, a grand castle in the background under the full moon, bats scatter to the sound of the demon bell. The stage transforms to scenes of graveyards, misty woods, shadowy London towne, a somber lantern-lit Transylvanian village, a murky swamp, a battlefield, an ancient tomb, concluding with the operatic elegance of a grand theatre...
I. Wolf: Stemming from legendary tales of beast men roaming the wilderness in the night {and sometimes the day}, Even the song focuses on the original Universal film, starring Lon Chaney. Conversely, the werewolf has always represented The Beast in Man, in which a reconciliation of the two can be achieved. Ergo, "There is a beast in man which should be exercised, not exorcised." Parallels can also been seen in The Hulk.
II. Damien: Glorious uses of choral splendor accentuates the multi-layered dimension herein, including quite an intense recitation of Thorn's Messe Noir repudiation of the nazarene from the Omen III's blasphemous chamber scene. The song chronicles his evolution from 1-3. Even though the so-called 'Anti-Christ' is a christian invention, it can be rather entertaining at times nonetheless.
III. Jack: With shades of 'From Hell', Jack The Ripper prowls the foggy London night to gain vengeance with a distorted sense of morality against the ladies of the evening. The alleged 'son of a hundred men' {also recall Freddy Krueger's 'origins'}, he deals with a classic mother complex by slaying her in proxy.
IV. Ghost of Freedom: A melancholic ballad remembering those warriors slain in battle, who haunt memories of appreciative contemplation.
V. Im-Ho-Tep {Pharaoh's Curse}: Based on the film The Mummy, from the sands of time, The Pharaoh emerges from his tomb to walk again among mortals, at the bidding of The Necromancer. The song appropriately features Middle-Eastern instrumentation such as the exotically-erotic sounds of the sitar.
VI. Jeckyll & Hyde: Jeckyll & Hyde displays an obvious bi-polar element, with the character at odds with himself, perhaps in this specific case, emerging uncontrolled via "the potion" {alcohol / drug abuse}. Some comparisons have been made with the werewolf, although where that characterization is considered involuntary, "Dr. Jeckyll & Mr. Hyde" is purposeful, but may also have been a negative statement against pharmaceuticals altogether {which was at one time considered to be The Devil's art} by hysterical religious fanatics.
VII. Dragon's Child: Once again based on the original Universal character "The Creature From The Black Lagoon", and again acknowledging man as part of the animal kingdom, this character is obviously from the vast, mysterious abyssal deep, representing primal fears. Interesting to note that more is actually known and catalogued about "outer space", than "inner space".
VIII. Transylvania: Segue-way Instrumental featuring brilliant guitar work, providing the perfect stage for many a horror tale, as we enter a truly bewitching land...
IX. Frankenstein: The Promethean metaphorical essence of this tale is asserted herein, exploring the 'forbidden' aspect of scientific iconoclasm, where genius traverses all limitations, shattering taboos to promote evolution. To a lesser extent, Mary Shelly's "Frankenstein" has also alluded to artificial human companions, as well as the story of Galatea.
X. Dracula: Bram Stoker's infamous Prince of Darkness is resurrected to claim his due and prey upon his victims in opulent grace, a-la the Bela Lugosi presentation, combined with Francis Coppola's enchantingly beautiful version as well, specifically with Prince Vlad's liberating self-empowerment in the realization of "God's" ingratitude, thus departing from service, achieving true freedom.
XI. The Phantom Opera Ghost: While not actually a 'ghost' {this character is not dead, but resides in the recesses of the opera house manipulating the superstitions of the performers and the crowd to gain his will in acquiring his dear love, the beautiful Christine for his own}, this song contains some wonderfully tender moments, recalling certain memorably romantic scenes from the play, accentuated by the lovely female voice of Yunhui Percifield. Pipe organ by Howard Helm adds an appropriately pleasing eerie element overall, also quite reminiscent of the beloved play.
ART
Cover art features a creature named "Set Abominae" who appears to be a compendium of all these legendary monsters emerging specterous from a magnificent castle. The booklet features splendid artistry by Jon Schaffer, each hosted by their respective denison - most remarkable is the group shot which resembles a piece drawn by this very writer entitled "Hallowe'en" {circa XXXII A.S.}, which includes these archetypes, and more. Also see The Four-Crown Princes of Helloween.
Also included in the center of the booklet, is an impressive two-page spread photograph of the band*, with The Devil's Tower in the background.
Remarkably, Iced Earth splendidly manages to combine the classically cinematic with this genre style, similar to King Diamond's musickal horror themes, rendered in their own particular style. In My opinion, is probably their best.
THE END
_________
* Present is one Richard Christy, who participated in Acheron's 'Anti-God, Anti-Christ', which also features cover art by Magister Rex Diabolus Church.
Deathwish
Demon Preacher
{XXIII A.S. Bradley Button - Lead Guitar, Jaiden Fahey - vocals, Jarrad Hroteck - drums and Daniel Hanlon - bass. Genre: Metal}
I
had not previously heard of this band before, so what initially
attracted Me to this album was the interesting cover art - a horned
skull strung with chains, as well as the title. Plus, it bore the name
of one of My favorite films. When I listened to it, I was pleased by
the quality of Metal I heard. There are well-placed harmonies and
melodies, decipherable lyrics which feature horror and occult
scenarios, a nice mix of speeds, ranging from doom-laden Power Metal to
intricate Thrash Metal, with morbid Black Metal lyrics and feel.
I was also never really for Glam pop rock, so actually
seeing the musicians attired in black leather with that certain spark
of diabolical creativity added to the overall presentation of the
album. You could tell their dedication to the genre ran deeper than
mere record sales, enriching the art of it, appealing to those with a
discerning ear.
I do appreciate good instrumentals and atmospheric
accentuations, which this album contains in the introduction 'Death
Procession' and the finale 'Past Life'. Also mentionable is a splendid
cover for Black Sabbath's "Symptom Of The Universe", not replicating it
exactly, but adding an individual take, which was gratifying,
considering the rest of their songs are darkly enjoyed.
Deathwish's Demon Preacher is a worthy
acquisition for those who appreciate true Heavy Metal on the dark side,
but again, as it may bear repeating, that one listens to such bands for
grim entertainment, not necessarily for philosophical value.
Imago Mortis {"Image of Death"} emerges from Brazil, which to Me
sounds like across between Candlemass, Type O Negative, and Sepultura.
Operatic, heavy, power grinding at times, and a faster pace at others
resembling Iron Maiden.
Themes range from the romantic to the tragic, the
melancholy to the morbid. At times, one thinks one is listening to
Messiah Marcolin's vocals, and at others, an almost Geoff Tate
impression echoes in the chamber of the mind. I was particularly
impressed by 'The Silent King', 'Unchained Promethius', and 'Long
River'.
The aesthetic presentation of the CD cover is splendid
with a spectral collage blending into one another as if from the dark
subconscious.
Piano solos, pathos-inducing ballads, haunting
keyboards, sound effects to accentuate the story lines, all merge
together as one in a veritable eclectic opus of sonic gratification. If
there is some sort of category for Gothic-Metal-classical compositions,
Imago Mortis would fit perfectly.
What
can one come to expect from a band named after the `venom of god'?
Death-Metal excellence. The slow, skull-grinding riffs rip the soul
asunder, & then suddenly shifts into a necro-velocity sending the
mind reeling into a euphoric frenzy. The gut-wrenching guitars, the
bone-pounding thunder, the growling damnation in a bestial, demonic
voice.
Satanic Forces seem to flow through this band. In every
blast of the drums, in every chord of the bass & guitars, in every
indignant & exhaulting word, the feeling is there.
The cover features the thorn-impaled head of a bloody
jesus in the midst of excruciaton. Within the cover, one finds a rather
clever depiction of the Yin-Yang, besieged with two serpents, each with
the black & white representative spheres as eggs in its mouth. This
can be taken to mean the black viper as signifying the darkside, as it
holds the blindlight under its power, as it thrusts upwards in
domination.
Amongst other underworld topics, sado-masochism is
expressed, & a tribute to dark warriors who have been persecuted
from ancient to current times.
Ceremony of Opposites is a superior Black Metal
production. It will bring the daemons into your household, as they pour
in from your speakers. Keep an eye out for these minstrels, for their
other infernal unleashings, which may form veritable chapters in a
sonic grimoire of nightmarish manifestation.
An
"occult classic", in My opinion, being that this album is
under-appreciated and underrated, remaining a more or less "hidden"
classic of Macabre Metal.
The
musick herein is memorably melodic and powerful, with an operatic voice
that is truly an instrument in itself here, with clearly decipherable
lyrics, which are arranged in a story-teller format, with the mood it
creates as one of an eerie ambiance, and best listened to at night, in
My opinion. Very theatrical in a Metal/Gothic/Horror sort of way - a
wonderful combination, which is just pure dark entertainment which one
can visualize in the theatre of the mind.
"The Gates of Hell" begins with the ominous sounds which
brings to mind permeating fog as an arched stone gateway creeks open,
unleashing the horrors within; and therefrom, straightaway into
Headless Cross, an omenic tiding as a warning to the local villagers
that something wicked this way comes; but probably one of the best
songs is "Devil & Daughter", which speaks to the charm of The
Satanic Witch entrancing mankind while smashing all detractors; "When
Death Calls" is a ballad-like Faustian auto-eulogy of a man about to
walk through the veil of mortality warning the living of the terrors to
come, and to dare not mock the face of death, lest your tongue blister;
I also really enjoy "Kill in The Spirit World" which to Me, grants the
impression of a Magical Victory against a truly deserving individual -
despite the lyrics, as a justified execution, not a so-called "murder";
"Call of The Wild" affirms the enjoyment of life to those who have the
courage to accept it in all of its carnal joy; "Black Moon" is another
exceptional cantible, about The Devil rising and calling forth His own
by the nocturne; and as if to compliment the previous, "Nightwing"
summons the creatures of the night to witness the glory of the flight.
Obviously, there are certain typical depictions from the
Judeo-Christian mythos, but it is very artfully done, with haunting
tunes that float into the ether to join with the glowing moon. A
frequent pleasure.
My
recollection of Lita Ford derives from the time I saw her in concert at
The Country Club in Reseda with My friend Rick at the time, and our
dates. She wore a skin-tight silver lame' body suit with a plunging
neck-line, a studded belt around her waist with a huge belt-buckle
inscribed with the word "Bitch" thereupon - and after the show, she
actually leaned down towards the front row invariably displaying lovely
cleavage, and bearing a bottle of wine or champagne to share with her
fans in the front row.
I recall her fling with Nikki Sixx of Motley Crue
primarily, her previous band The Runaways, and of course, that
unforgettable duet with Ozzy Osbourne "Close My Eyes Forever"; her
music contained a couple of catchy tunes from time to time, but it
really derived a more distinctive character with the addition of the
keyboards. Then it tool on a more dangerously erotic appeal
accentuating her femme fatale persona - "beautiful and deadly" as she
fancies herself. This took place with her prime release "Kiss Me
Deadly" {containing the afore-mentioned Ozzy duet}. "Dangerous Curves"
also certainly carries that theme to the hilt with songs like "Shot of
Poison", "Playin' With Fire", "Black Widow", and "Little Black Spider"
would indicate. Dangerous Curves has its moments, but it definitely
comes in second to "Kiss Me Deadly" in most respects. Of particular
mention, I did enjoy "Hellbound Train" with witch-cackles and all.
She actually did initiate what perhaps may be described
as "dance metal" {which would rally not be Metal in actuality, but more
in the lines of "hard rock"}, and serves as a passionate encounter with
a lover, or stripper music for erotic performers. There certainly is an
energetic quality to her music that makes one want to move and gyrate,
especially in the bed chamber "in a super-sized bed", as it were.
What
can be said about Quiet Riot beyond "Condition Critical" and "Metal
Health"? How many prognosticated that with the flatulence of scrap
metal grunge that this vociferous high-energy quartet would disappear,
yet this did not occur - that riot may have gotten a little quieter,
but that is only as far as "popularity" is concerned - yet that is not
because the band has been diminished in its Heavy Metal content, but
only because record executives lured the herd away from the genre that
they may instead chew on some grungy cud, yet Heavy Metal remains its
own entity, despite how many sheeple may be listening. It you determine
you have discovered something that works for you, edifies you, grants
indulgence, stay with it. As a matter of fact, it is indeed
stratification to observe who remains standing after the next wave of
trendiness comes along - it is more or less cleaning house,
disinfecting the poseurs from the midst of what carries value and
quality, as opposed to mere disposable consumerism and valueless
quantity.
And so is the case with Quiet Riot, who, through this
release, continue to propitiate that hard-edged head-banging,
hand-stomping, feet-clapping fun without placation.
I was not sure what to expect when I slipped the CD into
the Infernal Machine - would the music preserve or betray its
integrity? Thankfully, the sound herein retains its heaviness - I
immediately recognized it as genuinely Quiet Riot's, and not some
watered-down mutation of its former self - I recognized the harmonious
strains and the feral DuBrow vox. It is a compliment to the band that
they have remained true to themselves amidst the morass of
pop-faddists. Now, you will want to insert this CD into the Infernal
Machine because, lo and behold, a surprise awaits you on the desktop -
an .avi file featuring an audial documentary on the making of Guilty
Pleasures. featuring members of the band elaborating on some of the
lyrics, band history, musical compositions and inspirations, some
private life relations, all explained in that characteristic
effervescent manner.
The visuals are pleasing as well - the group, which
remains solid as Kevin DuBrow, Rudy Sarzo, Carlos Cavazo, and Frankie
Banali incite the Quiet Riot in full. They actually look like a
Rock/Heavy Metal band, which alludes that this is who the band really
is, on and off stage, musicians who play from the metal heart and truly
live it. The cover image depicts a scene from the Adam and Eve mythos,
partaking of the Forbidden Fruit which represents carnal knowledge,
rendered by none other than a favorite Artiste Albrecht Durer, with the
addition of the Metal Madness mask obfuscating the genitalia of the
nude figures, which was an amusing touch indeed.
Another mentionable bit of commentary is that among the
generally self-destructive or death & misery-obsessed plethora
connected to this genre, QR is actually quite life-affirming with
decipherable lyrics speaking of earthly indulgence, love and lust,
living life to the fullest - overall fun, which, since its inception,
has been what QR is all about. Guilty Pleasures is certainly a worthy
addition to your Heavy Metal collection - the condition is still
critical, so play it loud for your metal health.
Cradle of Filth
Cruelty and The Beast, Bitter Suites to Succubi, Midian, Dusk and Her Embrace
I have re-discovered a remarkable band that I had been previously aware of, but never really persued an interest in, until now, when I actually heard some of the musick. I was quite impressed by the orchestrations I had the pleasure of listening to.
The Infernal Triune factors identified as 'Malefik Musick' are present here: The Musickal presentation demonstrates intricate and moving orchestrations, which exemplifies the classical roots of much of the more exceptional Heavy Metal Musick; The Lyrickal content demonstrates high imagination and dark poetic application; and The Aesthetic Presentation demonstrates psychodrama, pyrotechnics, costumings, darkly archetypal characterizations, and horror theatrics. The CD cover art is exquisite, displaying melancholy, and predominant diabolically-erotic images of which is stimulating to the evil eye.Dusk and Her Embrace
Cradle of Filth has it all - combinations of pleasantly eerie instrumentations, Gothic Black Metal, with daemonic voices interdispersed throughout the cantibles and sound effects, thus intensifying both the musick and accentuating the lyricks, which cover a variety of mystical, paranormal, mythological, fictional, as well as Satanic subject matter. The demonic voice resembles that of 'Lord Darkness' from Legend, and reminds Me of the record by the fictional band "Sacrifix" played by the rebellious adolescent character from the film 'The Gate' {recommended} , which involved invoking a giant demon using litany available by playing the records backwards - 'backward masking' as it was called, I call "shilgne" {'english' reversed}, a phenominon which was an outgrowth of the SRA hysteria created by xian fear and guilt-mongering propagandists, subsequently opportunized by shrewd musicians and music executives.
This is great entertainment, like a horror movie in musickal form, somewhat reminiscient of a King Diamond and Mercyful Fate presentation - a highly psychodramatic theatre. Demons, vampires, satyres, incubi and succubi, witches, and various hellish creatures manifest on stage, and the band themselves are arrayed in costumes and makeup in composite vampiric/demonic personas.
Damnation and A Day
An apocalyptic Black Metal masterpiece themed around the Judeo-Christian mythology, like the book of Revelations set to musick.
Musick: Powerful throughout; monstrous drumming which provides a sense of energizing invigoration, similar to Classical Compositions' vertigo soaring. The use of glorious choral voices used interminably with Dani Filth's screetches and howls, accompanied by demonic voices projected to be that of The Magnificent Hell-Beast Himself. Wonderful timing, the use of strings, drops, risings, changes, all of which seems to be formed around the lyricks, a-la King Diamond de-regeur, thus masterfully composed. Each sonf encompasses a myriad emotional spectrum. One song leads into the next in a continuous course of a Dantean storyline.
Aesthetics: As is Cradle of FIlth's exceptional style, the matter encasing the disc in omnipresently replete with visual eyescapes from cover to back, illustrating the manifestations of "The Evil One" through several periods in history, from the Adam & Eve fables through to Cleopatra and beyond.
What I did find of particular mention is the song "Mannequin", which uses a vibrating vocal effect which causes a modified sonic vertigo, and the scitar used in "Doberman Pharoah" is a nice atmospheric touch. Also quite notable are the occasional interjections of narration setting the stage for the next section, exemplifying the veritable "table of contents" arrangement of the song list.
It cannot be said that this opus is their "best", but it is certainly a derivation from the usual optimum eerily haunting, and beautiful Gothic Metal produced, intermingled with sound effects accentuating these canticles of morbidity.
"Damnation and A Day" is certainly mandatorily recommended. 5/5 Goat Skulls.
A friend recently brought this CD around asking My opinion of it, & the first thing I noticed was the cover, which features the classic depiction of Tarot Card #15: "The Devil" as its motif - a card I always found pleasant to look at - as it features two nudes shackled to a depiction of Satan - The supposed representational meaning is that of being ruled by materialism, with the chains loose enough for the individuals to remove them from themselves, but choosing not to - & according to most / all blindlight decks, is seen as a negative thing. Materialism is an adjunct to self-preservation & the desire to succeed. It seems the original placing of this card was another attempt by blindlighters to divert the attention of the lower man from success & dominion to both assure the Occultist's puppetry of them, as well as having the said lower man to become comfortable with his meager lot - for to strive for success was seen as a devilish persuit in desiring the things of this world, & those who are wealthy & in positions of Power are in league with Lucifer. And that is as it should be.
Actually, I prefer to see the card as symbolizing two lovers enjoying the pleasures of life.
I would surmise these performers utilized the card as using Satanic iconography to ironically establish the afore-mentioned success, as The Devil receives the most attention {"good copy"}, & I would say He could be the patron God of the showman & the creator.
The music of this production seems to be a parody of a mix of Spinal Tap & Led Zeppelin, & the subject matter varies from the always phallic kielbasa, to a romantic rendition of the true feelings of the male animal - the overall subject matter carries a constant sexual overtone of humorously composed labido, taking the lyrics & combining them with romantic music at times, & other times, using pimp tunes.
Jack Black & Kyle Gass resemble a horned Aleister Crowley & a resurrected Chris Farley on the cover, playing characters who display a sort of sado-masochistic relationship, as one abuses the other much like a Ren & Stimpey duo. Lokian Jesters to be sure.
Of note, a song entitled "Tribute", which carries mild strains of "Stairway To Heaven" - the story deals with two hitchhikers who come across a demon on the road, who, in a more goblinesque voice than one would expect from a demon, asks them to sing "the best song in the world", or else he will "eat their souls" {actually, I recall a comic book about how Led Zeppelin received their fame & fortune through demonic intervention}. The song turns out to be a "tribute" {hence, the title} to "The Greatest Song In The World", not the actual 'greatest song in the world'. Other songs range from a stop at a drive-thru, to an innovative vocal technique called "inward singing". Overall, an amusing listen.
A
demonic depiction of a serpantine monarch slashes through the fabric of
time and space with a fanged rictus leering forth at the universe from
an infernal dimension.
We are blasted into Overlord - a velocity-enraptured
song orchestrated classically like Beethoven or Mozart placed to
electricity with a voice speedily inunciating to summon forth the inner
daemons within; then on to a delightfully-haunting instrumental
entitled R.I.P., {in which a whispering voice repeats
"Satan...Satan...Satan...Lead us into Hell!"} which is a always a
welcomed interlude to the next hell-spawned onslaught; 'Night of The
Living Dead', obviously inspired by the film by the same name - rotting
zombies stalking the earth in search of living flesh - especially
brains; 'S.O.S.' could be an acronym for "Son Of Satan" or 'Save Our
Souls', but here it signifies "Satan Our Savior" - another fast-paced
cantible which, if you are so inclined, is sure to give you whiplash
with an upthrust Cornu; 'None Shall Defy' may be the strongest song
herein, bearing the album title, with the signature line, "Marching
defiant, the Legions bear witness, if you stand against Evil then you
stand alone!"; Schizophrenia embeds herein with 'Skeletons In The
Closet', about a man whose own demons come for him in the form of
monstrous skeletons; 'Anthology of Death' retells the infamous
murderous exploits of Jack The Ripper. Of note, the line "...He'll
sneak up behind you, and sever your head. He kills with a passion,
makes love to his dead..." 'Path of The Psycho' concludes this metal
masterpiece with eerie acoustic guitar trailing off back to The
Infernal Regions...
Each song's lyrics are quite extensive for the usual
short and repetitive words offered on most albums, and they are short
stories all to themselves, each, like taking a tour of a museum of
Horror, which is not surprising, considering the band are quite the
Horror movie fans, from whence they derive much of their fantastic
relations. The musickal theatre herein drips with blood...enjoy.
An
arcane opus placing one amongst the world of European superstition - a
story book opus of woodcarvings, Witchfynders, "witches", biblical
demons, etcetera. The cover features decomposing corpses in dim
lighting.
The songs are powerful orchestrations masterfully
created to sublime Black Metal excellence, bringing a truly eerie
adrenaline-filled hellish unleashing.
Exorcist really manages to create a remarkable
atmosphere, quite distinctive throughout the Metal maelstrom of
replicative albums. Haunting intros are featured in renditions to 'Call
To The Exorcist', 'Riding To Hell', the sounds of intensely burning
hellfire, amazing loud and clear guitar solosconsistently pounding
drums, a discernable voice speaking on stuporstition focusing on the
Salem witch-craze, evident with a mock tryal recreation, including the
names of Elizabeth Proctor, Guiles Coring, Abigail Hocks, Nathaniel
Hocks, and William Proctor, among others, whoi were tortured and
executed for their purported allegience with The Devil; which by now it
is known is untrueas no REAL witches were burned. Very much like the
SRA hysteria circa 80's/early 90's - it could veritably serve as
evidence of what may happen if the paranoid christians have their way.
For the Puritans, it was three little girls in
hysterical fits pretending at possession to gain attention, provide
excitement for themselves, and wield a sort of pretentious influence
and pseudo-authority, with poor Tutuba who bore the initial brunt of
the so-called "burning times"*.
In modern times, it was an exploitation program entitled "The Devil Worshippers"
presented by 20/20, and the subsequent further sensationalized
"Exposing Satan's Underground" by Geraldo Rivera. But it is asserted
that every generation and era in history has had its scapegoats. There
seems to always be one segment of the populace villainized and accused
of being in league with Lucifer, The Prideful Rebel. Whether it be
Jews, Amerinds, homosexuals, whatever indigenous native cultures living
contently before the tyrranny of christian swords arrived to corrupt,
degrade, and brainwash that culture.
* Track List: 1. Black Mass 2. The Invocation 3.
Burnt Offerings 4. The Hex 5. Possessed 6. Call For The Exorcist 7.
Death By Bewitchment 8. The Trial 9. Execution of The Witches 10.
Consuming Flames of Redemption 11. Megawatt Mayhem 12. Riding To Hell
13. Queen of The Dead 14. Lucifer's Lament 15. The Banishment
"And thus the darkness ended -
outright - even swept away. And the land was made clean and wholesome
again... thanks to the Exorcist. God bless you..."
________
* Interesting to note that
burning was the method of execution in Europe, not in America, who
initiated various other methods of torture and forced confessions.
'Brutal' hard-driving permutations demonstrate the true essence of Metal in this albeit fictional band, which ultimately seems irrelevant considering some of the surprisingly impressive materializations, ironically demonstrating many of the amusing stereotypical characteristics attributed to this genre. The music is actually very well done, as good as any professional band, pulling all those sonic strings with memorable melodies, sometimes complex arrangements, accentuating sound effects, accompanied by Nathan Explosion's rather versatile voice.
The DVD contains no less than 14 videos which transport one into a darkly imaginative hellish world of blood, gore, & mutilation, creating abysmal animated spectacles, which can be viewed individually or all at once in a stream of abominations from the 'Metalocalypse' show, punctuated by the band's lokian mascot "Face Bones", a disembodied spiked skull with strands of flesh attached, elucidating the viewer to some of the inner workings of the band, 'private outtakes', and the physics of "moshing" of all things, among other subjects.
The Deluxe edition features a platinum presentation akin to KISS' Double platinum album, in a tri-fold format with lyric booklet & art.
The crossover from parody show to album is a remarkable one, accomplished with flawless expertise. As the sequel to the mighty Dethalbum I, this release compliments it absolutely. Those who appreciate this genre will be pleasantly surprised with the humorous "decomposition", as it were, along with all the added perspective-lending comedic elements to boot.
I can definitely visualize a tiki-laden environment, like a Halloween
Luau, perhaps at the beach at night, with everyone dressed up as their
favorite monsters, sipping martinis and dancing nearby a bonfire to the
joyous tunes of Halloween revery...
1. Halloween Hootenanny - Zacherie: We are introduced to the Halloween festivities with a
poem narrated by our Ghoulish Host Zacherie, providing a welcoming
atmosphere, starting off the party...
2. Halloween (She Get So Mean) - Rob Zombie: Emerging from the blackened earth, the zombie king
launches the celebrations with a bang, where you can picture Baby
girating in a devil-girl a-go-go costume...
3. The Halloween Dance - Reverend Horton Heat: Stick your arms out like you're in a trance, the gang's
all here! You can hear them in the background throughout the songs
herein. Everyone's having fun beneath the harvest moon!
4. A Fistful Of Terror - The Bomboras: An effervescent instrumental reminiscent of 'Wipe-out' by The Ventures.
5. Werewolf - Southern Culture On The Skids: Lycanthropic fun! You really being out the beast in Me!
6. Gravewalk - Satan's Pilgrims: A nocturnal jaunt in the graveyard may yield some unexpected pleasures...
7. Ribcage Mambo - Frenchy: A dimly-lit room, smoke looming above everyone's heads,
as a zombie-like Noir beauty slinks out into the spotlight in a
sequence gown and pillbox hat, while the skeletal band plays a
hauntingly exotic number...
8. I Drink Blood - Rocket From The Crypt: High-velocity with a very feedback / static quality.
9. Little Demon - The Amazing Crowns: A Rockabilly cover of the classic by Witch Doctor Screamin' Jay Hawkins.
10. No Costume, No Candy - Swingin' Neckbreakers: Now here's a great sign waiting to happen! A really fun
song addressing a possible issue on Halloween night. Perhaps those who
do not dress up but still expect candy should also be given the "trick"
of fetid condoments in those little packets instead of candy. If you
lack the imagination or effort to celebrate, don't dare expect a treat
here! You're no mummy, you're just a dummy!
11. 'The Munsters' Theme - Los Straitjackets: An amusing spook-surf rendition of the original by Jack Marshall, from a band who dress up as masked wrestlers.
12. Sinister Purpose - Zacherie: I really enjoy this one, wherein The Devil comes
knocking on the coffin door offering wondrous gifts of immortality and
riches. Sort of reminds Me of L'Air Epais, wherein one is awakened unto
one's carnal nature.
13. Werewolves On Wheels - The Born Losers: Lycans on motorcycles going wild into the night!
14. Psychic Voodoo Doll - Deadbolt: Somewhat of an endearing sado-masochistic romantic tune.
15. Banshee Beach - The Ghastly Ones: Another fun instrumental. This actually reminds Me of a
shirt which featured The Creature, Frankenstein, The Mummy, and Wolfman
carrying surfboards, heading out for some tasty waves. This from a band
who look like undertakers.
16. The Creature Stole My Surfboard - Dead Elvi: A humorous diddy about a surfer relating the time when
The Creature took over his board for some late-night surfing. Of
course, the band are all dressed as zombie Elvi...
17. Extrasensory Deception - David Allan/Phantom Surfers: Yet another highly-energetic instrumental utilizing some echo effects to add to that haunting element.
18. Spooks Night Out - Legendary Invisible Men: The spooks are out! With vocals sounding like they
emminate from a megaphone, accompanied by echoing guitar and organ.
Yes, that's right, the band members are bandaged invisible men.
19. Happy Halloween - Zacherie: Our host would stop at nothing to wish all a Happy Halloween!
The booklet features Rob Zombie's artwork throughout,
from Frankenstein to The Mummy, with Baby dressed up like a barbie-like
sexy witch on the back.
Overall, Halloween Hootenanny is a fun collection of
jaunty tunes for year-'round reverie, in a "spook surf", martini-sipping
sort of way. Amidst the undead 50's-style rockabilly, many of which are
enhanced with sound effects, we hear from "Zacherie", a ghoulish host
regailing the listener with haunted tales sure to add that certain
spicy ingredient to the Witch's brew.
Chilling, Thrilling Sounds of The Haunted House
Discovered this gem recently, which now holds a special place in My black heart. This seems to be a relatively rare recording, for the surprising unfamiliarity of some of the material, and I do have quite a collection of Halloween tapes & CD's, so to also have this on vinyl is an extra special superb trick & treat. As a matter of fact, just the cover is a rarity, as there is only one source wherein it can be viewed on the interwebs, and that is on the above video.
Lair sweet Lair...
Select horror-quality ambient sound effects to complement the Lair, either by itself or combined lowly [line-in function] with one's preferred musical genres, lighting, & decor to enhance the psychodramatic atmosfear, unholyday presentation, also contributing to that certain dimensional alignment transgression.
Engraved upon the tombstone on the back...
Recorded Live in Transylvania {records}, take a trip through The Haunted House if you dare! Turn your home into a scarry, chilling, fearful domain of monsters, ghosts, and goblins!
Laughing gremlins, witches and ghosts, screaming humans, heart beating; clock at midnight, chains rattling, squeaky door; howling dogs, shrieking cats, coyote, flying bats; monster making laboratory; music from the fourth dimension.
[Warning: Do not listen to this recording alone. May be hazardous to your health]
[PARENTAL GUIDANCE SUGGESTED]
Not recommended for regular little kids, unless infernal progeny, for it may frighten most trick-or-treaters. Otherwise makes for pleasant all-year listening.
As much as I can recognize the value of having digital copies at one's disposal for practicality and mobility, just like books {biblichor}, nothing quite compares to the gratifyingly tactile item of art in one's hands. The scent, feel, craftsmanship, artistry, sound*, all makes for a superior multisensory experience throughout. {5/5} ∞
_____________ * The best sound quality is derived from an LP [highest quality original], seconded by CD [high quality recording], then digital [compressed recording].
Not for the faint of heart, The Sounds of Demons & Dementia
actually contains passages from The Satanic Bible (read rather
dubiously): "Invocation Employed Towards the Conjuration of
Destruction", "The First Enochian Key", "Invocation to Satan", &
the chanting of "In Nomine Dei Nostri Satanas, Luciferi Excelsi."
{Satanic Chanting}. Such interesting narrations playing forth into the
night will certainly add a haunting effect while providing perspective,
although depending upon who is listening, may perhaps prove too
disturbing for some. Although this particular section would be quite
stimulating for private gatherings.
The rest of the recording contains wonderfully lengthy
sound effects of a horrifying nature, with minimal "goofiness" typical
on most Halloween presentations, thus preserving a delightfully
frightening atmosphere, which will scare the Hell into Trick or
treaters. Be warned.
The Dark Side of The Xmas Tree
XXIV A.S. Performance Records. Genre: Holiday, Comedy.
THE SPACE NEGROS: Jingle Hell, We Wish You A Lousy Xmas, Deck The Halls (With Poison Sumac), Silent Fright.
MAGIC MOSE AND HIS ROYAL ROCKERS (FEATURING 'BLIND SAM'): Have Yourselves a Groovy Little Solstice, I'm Dreaming Of A Noir Xmas.
THE JETHROS: Frosty The Snow Plow, Walking Through A Winter Blunderland, We Wished You A Merry Xmas, Silent Night, O Wooly Town Of Buffalehem, Merry F*cking Xmas, Let It Snow $3, O Come All Ye Faithful, I'm Dreaming Of A Wide Xmas, Wreck The Halls, Little Bummer Boy, Slivered Bells, We Be Kings, The Last Noel, Have A Holly Golly Xmas, Slay Ride, I'll Be Gnome For Xmas.
ERIK LINDGREN: A Special Personalized Christmas Greeting To You From All The Retailers Of America, Ho Ho Ho
I first became aware of this recording when a sensual acquaintance brought it over to The Noctuary around Solstice, and was quite amused by it. Of course, there were songs like King Diamond's 'No Presents For Christmas', which remains a favorite, but here was the first entire irreverent 'holiday' album in existence, so I had to record it on tape, which I labeled 'Xmas In Hell'. There have been several mock albums since in various genres, each with its own charm.
The album begins with a phased hypnogogic effect as if tumbling into a mad world of winter celebration. First with "The Space Negros", offering punk-styled 'sacrilegious' variations on traditional carols in Jingle Hell, We Wish You A Lousy Xmas, Deck The Halls {With Poison Sumac}, & Silent Fright.
Then for a change, the listener finds themselves in a smoke-filled club sipping martinis while being treated to Jazz/Lounge diddies by Magic Mose & His Royal Rockers {featuring Blind Sam*} with 'Have Yourselves A Groovy Little Solstice' & 'I'm Dreaming of A Noir Xmas', wherein one is transported to a suit/tie & fedora environment {where some exist perpetually}, in a laid back, relaxed entertainment while watching the gams go by. I appreciated the mention of acknowledging the warlocks and witches in the audience, as well as druids.
"Xmas is a lousy racket!"
The next level descends with The Jethros with seventeen hellarious blasphemic carol distortions which actually captures the mood of herdmas quite well, inclusive of the regurgitation of holiday 'spirits' at one point; the drunkenness, depression, greed, over-indulgence, pretentiousness, tacky decorations, etc.
Erik Lindgren concludes with "A Special Personalized Xmas Greeting For You From All The Retailers In America", which reveals the true motivations of businesses who profit from this hallmark holiday just like all the others. The lengthy "Ho Ho Ho" which goes on for almost thirteen minutes, gives the impression of a veritable "Santa The Hut" as a huge omnipresent monster gathering the 'faithful' consumers for consumption.
The cover art is most obviously based on 'The Dark Side of The Moon' by Pink Floyd, except the prismic pyramid is shaped like a xmas tree, with the prism emitting xmas lights instead from the rainbow.
'The Dark Side of The Xmas Tree' definitely slaughters the sacred xmas cow, roasts it, and serves it up on a platter complete with all the trimmings. ∞
Terrorizer presents: The Devil's Music
Many are the masks of Satan, archetypically manifesting in all genres of the arts in one form or another. From the diabolical gentleman, to a demonic monster, a reflection, even a God, metaphor, and everything in-between. After all, the realm of theater, the imagination, mystique and charm are the foremost tools of Satan, the psychodrama of the mind as a portal to that great Abyss within, enhancing for entertainment, and philosophically, in a careful balance to those who truly ride with The Devil.
BLASPHEMIC CRUELTY
For those who wish for a raw expression of this genre, harking unto Possessed, Sodom, and Morbid Angel, even shades of S.O.D. and F.C.D.N. Tormentor,
these seven songs of infernally-ferocious assault from Blasphemic
Cruelty delivers the extreme-velocity and heaviness you crave.
Dare to knock on the door of this mirthsome dimension, to either be at one with the predatory archetype displayed, or consumed in either fear, or gratification...
Masterful, inspirational. A rare black gem to be sure, combining the classical with the subtly Gothic, likened a combination of Nox Arcana & LeRue Delashay. An ingenious plethora of blissful transitions grace the opus like the branches of a skeletal tree underneath the full moon.
German Punk in the vain of The Exploited, Black Flag, and some discernible Germs
influence. With surprisingly clean composition and delivery, the
hardcore presented here contains rhythm and harmonies quite rare in the
genre, and will have a hoof tapping. Intros demonstrate the band's
innate talent with precision uses of mood-setting guitar work, and Jan
Welke's vocals add that essential combustible element.
Track List: 1. Unnerving Tranquility 2. Paper Mask 3. Siknes: Delirium Tremens remix 4. Insomnia
The Chaos Magnet contains a splendid mix of genres exemplifying the innovative implementation of various sound effects, instruments, with the vocals being strong and clear. TCM is well produced, with instrumentations applied throughout really speaking for themselves, asserting an evolution of style. The introduction and conclusion creates a ritualistic feel overall, with wonderful uses of elemental permutations accenting these potent infernal reverberations:
Potent enunciations of Atavistic evocation,
relating everything from fictional horror scenarios, to erotica, brutal
reality, and Magical invocation, which leads to materialization:
From the description:
I. The Devil's Work: An eerie introduction to the opus quoted from The Devil's Rejects sets the mesmeric black tone towards satanosonic gratification.
I
received this CD in the mail today, and I must say, that there is an
enormous amount of talent herein, and expect great evolutions with this
artist. The Dark Classical orchestrations are splendidly enmeshed with
brilliant guitar work and overall Black Metal amalgamations. No vocals,
which allows one to soar with one's unlimited imagination. I have often
detected the correlations between Classical music and much of the Metal
compositions, but this opus really brings the two out in tandum to
provide an aristocratic and mystical feel. And for a one-man band who
names itself after a line in The First Enochian Key, I consider this a
worthy musickal personafication thereof.
Listened to the latest METAL CHURCH release "Damned If You Do", and it pretty much sounds very similar to how they've always sounded, powerful & melodic; with themes in this one particularly aimed at the trap that work slavery rut race proletarianism is, how sheeple are just considered numbers in the system to be exploited, the guilty monkey finger pointing, initiating an unnecessary guilty conscious for deviating from the programming; all and the subsequent personal r/evolution needed to break free from such habitual constraints in order to live a truly fulfilling life, and find 'Balance' {by # 9, as in 'Koyaanisqatsi'} with doing something worthwhile and getting payed for it, looking out for oneself first. In tune with inner and outer nature surrounding.
I
had not previously heard of this band before, so what initially
attracted Me to this album was the interesting cover art - a horned
skull strung with chains, as well as the title. Plus, it bore the name
of one of My favorite films. When I listened to it, I was pleased by
the quality of Metal I heard. There are well-placed harmonies and
melodies, decipherable lyrics which feature horror and occult
scenarios, a nice mix of speeds, ranging from doom-laden Power Metal to
intricate Thrash Metal, with morbid Black Metal lyrics and feel.
Imago Mortis {"Image of Death"} emerges from Brazil, which to Me
sounds like across between Candlemass, Type O Negative, and Sepultura.
Operatic, heavy, power grinding at times, and a faster pace at others
resembling Iron Maiden.
What
can one come to expect from a band named after the `venom of god'?
Death-Metal excellence. The slow, skull-grinding riffs rip the soul
asunder, & then suddenly shifts into a necro-velocity sending the
mind reeling into a euphoric frenzy. The gut-wrenching guitars, the
bone-pounding thunder, the growling damnation in a bestial, demonic
voice. 
The
musick herein is memorably melodic and powerful, with an operatic voice
that is truly an instrument in itself here, with clearly decipherable
lyrics, which are arranged in a story-teller format, with the mood it
creates as one of an eerie ambiance, and best listened to at night, in
My opinion. Very theatrical in a Metal/Gothic/Horror sort of way - a
wonderful combination, which is just pure dark entertainment which one
can visualize in the theatre of the mind. 
My
recollection of Lita Ford derives from the time I saw her in concert at
The Country Club in Reseda with My friend Rick at the time, and our
dates. She wore a skin-tight silver lame' body suit with a plunging
neck-line, a studded belt around her waist with a huge belt-buckle
inscribed with the word "Bitch" thereupon - and after the show, she
actually leaned down towards the front row invariably displaying lovely
cleavage, and bearing a bottle of wine or champagne to share with her
fans in the front row. 
What
can be said about Quiet Riot beyond "Condition Critical" and "Metal
Health"? How many prognosticated that with the flatulence of scrap
metal grunge that this vociferous high-energy quartet would disappear,
yet this did not occur - that riot may have gotten a little quieter,
but that is only as far as "popularity" is concerned - yet that is not
because the band has been diminished in its Heavy Metal content, but
only because record executives lured the herd away from the genre that
they may instead chew on some grungy cud, yet Heavy Metal remains its
own entity, despite how many sheeple may be listening. It you determine
you have discovered something that works for you, edifies you, grants
indulgence, stay with it. As a matter of fact, it is indeed
stratification to observe who remains standing after the next wave of
trendiness comes along - it is more or less cleaning house,
disinfecting the poseurs from the midst of what carries value and
quality, as opposed to mere disposable consumerism and valueless
quantity. 
A
demonic depiction of a serpantine monarch slashes through the fabric of
time and space with a fanged rictus leering forth at the universe from
an infernal dimension. 
An
arcane opus placing one amongst the world of European superstition - a
story book opus of woodcarvings, Witchfynders, "witches", biblical
demons, etcetera. The cover features decomposing corpses in dim
lighting.
'Brutal' hard-driving permutations demonstrate the true essence of Metal in this albeit fictional band, which ultimately seems irrelevant considering some of the surprisingly impressive materializations, ironically demonstrating many of the amusing stereotypical characteristics attributed to this genre. The music is actually very well done, as good as any professional band, pulling all those sonic strings with memorable melodies, sometimes complex arrangements, accentuating sound effects, accompanied by Nathan Explosion's rather versatile voice.
I can definitely visualize a tiki-laden environment, like a Halloween
Luau, perhaps at the beach at night, with everyone dressed up as their
favorite monsters, sipping martinis and dancing nearby a bonfire to the
joyous tunes of Halloween revery...
Discovered this gem recently, which now holds a special place in My black heart. This seems to be a relatively rare recording, for the surprising unfamiliarity of some of the material, and I do have quite a collection of Halloween tapes & CD's, so to also have this on vinyl is an extra special superb trick & treat. As a matter of fact, just the cover is a rarity, as there is only one source wherein it can be viewed on the interwebs, and that is on the above video.
Not recommended for regular little kids, unless infernal progeny, for it may frighten most trick-or-treaters. Otherwise makes for pleasant all-year listening.
Not for the faint of heart, The Sounds of Demons & Dementia
actually contains passages from The Satanic Bible (read rather
dubiously): "Invocation Employed Towards the Conjuration of
Destruction", "The First Enochian Key", "Invocation to Satan", &
the chanting of "In Nomine Dei Nostri Satanas, Luciferi Excelsi."
{Satanic Chanting}. Such interesting narrations playing forth into the
night will certainly add a haunting effect while providing perspective,
although depending upon who is listening, may perhaps prove too
disturbing for some. Although this particular section would be quite
stimulating for private gatherings.
I first became aware of this recording when a sensual acquaintance brought it over to The Noctuary around Solstice, and was quite amused by it. Of course, there were songs like King Diamond's 'No Presents For Christmas', which remains a favorite, but here was the first entire irreverent 'holiday' album in existence, so I had to record it on tape, which I labeled 'Xmas In Hell'. There have been several mock albums since in various genres, each with its own charm.