Passing this on from Mick Mercer – if you’ve been considering adding a shelf of Mercer to the extensive library wing of your mansions, now is the time.
Please share this info around if you can. The following books are being discontinued at the end of this month, so this is a final chance to obtain what will be seriously limited editions! I am reducing the number of formats I offer to streamline the sections on my website. Written books may sometimes come out in A4 or US Letter formats but photo books will mainly be a standard ‘Royal’ size from now on. I won’t be doing many gloss ones either as people prefer these matt ones. So the following vanish completely within three weeks. The 20% off offer at Lulu for UK customers is valid through Nov 11 so you might wish to take advantage of that. (Just enter EARLYSHOPPERUK305 code at checkout.)
ALIEN SEX FIEND (Batcave 1.6.83) US Letter 56pp
ALIEN SEX FIEND (Batcave 1.6.83) A4 56pp £19.99
ALIEN SEX FIEND (Batcave 17.8.83) 40pp Gloss £9.99
ALIEN SEX FIEND (Batcave 6.4.83) 32pp Gloss £9.99
AUSGANG (Batcave 16.11.83) US Letter 40pp £14.99
AUSGANG (Batcave 16.11.83) A4 40pp £14.99
AUSGANG (Batcave 5.12.84) US Letter 36pp £14.99
AUSGANG (Batcave 5.12.84) A4 36pp £14.99
CHRISTIAN DEATH Posed 1984 US Letter 28pp £9.99
DANIELLE DAX (Batcave 12.8.83) A4 72pp £19.99
DANIELLE DAX (Batcave 12.8.83) US Letter 72pp £19.99
DANIELLE DAX Posed 1983 US Letter 28pp £14.99
DEATH CULT (13.1.84) US Letter 44pp £14.99
DEATH CULT (13.1.84) A4 44pp £14.99
GLORIA MUNDI A4 52pp £14.99
GLORIA MUNDI US Letter 52pp £14.99
INKUBUS SUKKUBUS A4 80pp £19.99
JUNIOR MANSON SLAGS (1987-1988) A4 44pp £14.99
JUNIOR MANSON SLAGS (Dingwalls 87) A4 48pp £14.99
JUNIOR MANSON SLAGS (Int 1987) A4 52pp £14.99
JUNIOR MANSON SLAGS (Late 1987) A4 48pp £14.99
MELANIE GARSIDE (1993) A4 48pp £14.99
MELANIE GARSIDE (Tabitha Zu 1992) A4 60pp £14.99
ROSETTA STONE A4 68pp £19.99
ROSETTA STONE US Letter 68pp £19.99
SEXBEAT (Batcave 1983) 24pp Gloss £7.99
SEXBEAT US Letter 56pp £14.99
SEXBEAT A4 56pp £14.99
SPECIMEN (Batcave 1983) 52pp Gloss £9.99
SPECIMEN (Batcave 24.10.84) 48pp Gloss £9.99
SPECIMEN (Batcave 25.5.83) 48pp Gloss £9.99
SPECIMEN (Batcave 26.10.83) US Letter 40pp £14.99
SPECIMEN (Batcave 5.9.84) 36pp Gloss £9.99
THE BATCAVE (10.8.83) US Letter 48pp £14.99
THE BATCAVE (10.8.83) A4 48pp £14.99
THE BATCAVE (7.11.84) 24pp Gloss £7.99
THE CRAMPS US Letter 48pp £14.99
THE CRAMPS A4 48pp £14.99
THE DANSE SOCIETY A4 72pp £19.99
THE DANSE SOCIETY US Letter 72pp £19.99
UK DECAY US Letter 72pp £19.99
UK DECAY A4 72pp £19.99
VIRGIN PRUNES (Brixton Ace 6.4.83) US Letter 68pp £19.99
VIRGIN PRUNES (Brixton Ace 6.4.83) A4 68pp £19.99
XMAL A4 92pp £19.99
XMAL US Letter 92pp £19.99
ADAM AND THE ANTS US Letter 72pp £19.99
ADAM AND THE ANTS A4 72pp £19.99
BLONDIE US Letter 68pp £14.99
BLONDIE A4 68pp £14.99
JAYNE COUNTY 1983 US Letter 40pp £14.99
PAULINE MURRAY + PENETRATION A4 72pp £19.99
THE DAMNED US Letter 84pp £14.99
THE DAMNED A4 84pp £14.99
THE SLITS Lyceum 3.1.79 A4 56pp £14.99
THE SLITS Lyceum 30.12.78 A4 36pp £9.99
TV SMITH + THE ADVERTS A4 88pp £19.99
COCTEAUS (1982/1984) US Letter 24pp £12.99
DAISY CHAINSAW 1 A4 44pp £14.99
DAISY CHAINSAW 1 US Letter 44pp £14.99
DAISY CHAINSAW 2 A4 36pp £14.99
DAISY CHAINSAW 2 US Letter 36pp £14.99
DAISY CHAINSAW 3 A4 40pp £14.99
DAISY CHAINSAW 3 US Letter 40pp £14.99
DAISY CHAINSAW 4 A4 84pp £19.99
DAISY CHAINSAW 4 US Letter 84pp £19.99
FLINCH (Dublin Castle) A4 76pp £14.99
FLINCH (Falcon) A4 36pp £14.99
JACOB’S MOUSE A4 76pp £19.99
MARC AND THE MAMBAS US Letter 44pp £14.99
MIDWAY STILL A4 44pp £14.99
PJ HARVEY US Letter 40pp £14.99
SID PRESLEY + GODFATHERS US Letter 72pp £19.99
SID PRESLEY + GODFATHERS A4 72pp £19.99
TH’ FAITH HEALERS A4 80pp £16.99
THE GUN CLUB US Letter 88pp £19.99
THE GUN CLUB A4 88pp £19.99
TURKEY BONES AND THE WILD DOGS A4 108pp £19.99
Concise Noise Fractionale Ltd. is an independent audio collective of unsigned various artists interested in exposure through numbers.
The genres represented here are eclectic or even difficult to pigeon-hole, ranging from random noise to methodical notation, but usually it’s a combination of both. Ultimately, there are no pretenses of preferred style.
Composed by Scott Gallant & Matt Davis in 1998.
Noise End Rapture is a project best defined as Melodic Soundscape, standard musical instruments were modified. Sound-generating devices included effects pedals, samplers, and delay echoes, all of which were either cheap or cheaply rigged. A wide variety of unorthodox appliances and electronics were also miked whenever its sonancy was appropriate.
Video produced by Scott Gallant
Noise End Rapture
This Music Sucks
Mad Shad (5H4D)
CNF on Soundcloud:
CNF on Facebook:
In this time when you can feel the quickening of a new beginning
Even as all you see is dead
And the heat of the flames before you
make you grateful for the freezing moon outside
The past is dead, the future is now
Shooting past you, receding into the distance
The darkening day – necro
The pale, feeble first light of dawn – futurist
The blood exits, becomes cold
Midnight confessions are told
Buried memory is unearthed
Life’s Decay – Sulvisyan
Camp Z – The Right To
Sal Solaris – Urok Sna
Murnau’s Playhouse – Bloodstopper
Laætherstrip – It’s Who I Am (AAAK remix)
The New Regime – Haunt My Mind
Los Carniceros Del Norte – El Pozo y el Pendulo
Batcheeba and Gird_09 find that the night train has deposited them in Transylvania where they have taken refuge in a castle. Blasphemous voices whisper in their ears, the children ov thee night sing their bewitching song and the undead come forth with a siren call to a necrotic orgy…
Dennis Michael Tenney – Night of the Demons
Bauhaus – Bella lugois’s dead
My Life with the Thrill Kill Kult – Days of Swine and Roses
Alien Sex Fiend – Dead and Re-burried
Sisters of Mercy – Fix
Siouxsie and the Banshees – Halloween
Ataraxia – Annabell Lee
Christian Death – Romeo’s Distress
Goblin – Suspiria
The Damned – Nasty
AK-47 (Not Quite Poetry) hosted by Batcheeba and her partner Gird_09 (together they are the incredible FRzO). In each episode they take us into secret caverns, crevasses and catacombs of our world, the underbelly of our politics and extremes of absurdity in our culture. Complete with opinions and offenses. While they diagnose our dis-ease they bring the cure in wholistic musical doses. You will never know what to expect!
AK-47 (Not Quite Poetry) are now on Farcebook! Hie thee hence and “like”:
The Necrofuturist Illuminati were set up for “gothronomic intriguing rather than in speculation”, the Necrofuturist Illuminati became “much more characteristic of a cross-dimensional militia in action than a disorder with initiations. ” P. Emerson Williams’ contempt for certain exoteric pursuits – as a “thing-in-itself” – was widely known: “… in Williams’ system the phraseology of Gothraism, the Necrolistic legends of Freemasonry, the mystical imaginings of the Fartinistes, play at first no part at all. For all forms of ‘gothosophy,’ gnoccicism, refined spiritsism, and musick-magick Williams expresses nothing but contemporaneousness, and the Doze-Croix Necromasons are bracketed with the Necruits by the Necrofuturist Illuminati as enemas it is necessary to out-twit at every turn. Consequently no degree of Doze-Croix finds a place in Williams’ system, as in all the other Gothtronic orders of the day which drew their influence from Beastern or Crabalistic sources.”
UK Decay – Unexpected Guest
Veil of Thorns – A Craven Slave Design
Experiment Haywire – New World Order Show (Fernthal Highway mix)
Miserylab – Stand in Line
Attrition – Mind Drop
Thomas Jude Barclay Morrison – The Plague Doctor
Esben And The Witch – Warpath
Pictureplane – Goth Star (Brenmar Remix)
✝NO VIRGIN✝ – Cocaine and Ashes
Controlled Bleeding – Trawlers Song
White Ring – Feather (Story of Isaac Remix)
From the Vampire Wars (2011)
Download free here:
These cults as Such in the first three aeons are but chapters,
after which the symbols of the black night of chaos
A black much richer than that from which they emerge
into the light of the form of the manifestations.
This cannot be achieved without efflorescence
a survey of primal cults Current
and the symbolic formulae deposited
times and appear in pre-monumental
a skeleton whereon explained more it than the Fetish
In channel fire a survey is presented
some of its systems of the Five.
There exist no phenomena in the light
Tantric aspects of that are often
confused with such a survey and occultism
no more perfect to found Its aim is to restore the Left Hand
Path and to re-interpret its field for magic explains Recent
You have the music, now check out the real madness…
NOISE COVERED WORSHIP
INCREASINGLY BIZARRE POLITICAL THREAT RITES
PROCESS PRODUCT PROPOSITION
DE LEGE MOTUS
A CRAVEN SLAVE DESIGN
SACRED THOUGHT OBSTACLES
ELECTRONIC VOICE PHENOMENA
GRAVE PECULIARITY RECEIVED
APPARITIONS OF ART
PROGRAMMERS BELOW SIGHTS OF THE OPERATIONAL SECRET
A NON-EUCLIDEAN FUTURE
Donate and help bring Necrofuturist media production to the next level. Free music and other media will be forthcoming.
Along with Sex and Snobbery (two of the “three esses” that conspiracy theorist Milford Connolly thought were central to successful popular friction, the other being Sadism; he was thinking particularly of the P. Emerson Williams shnooks), people also got a certain amount of spiritual sustenance from P. Emerson Williams. Whatever the subject – and the Necrofuturist was only a part of Williams’ output, although it’s the part he will be remembered for – Williams’ books were always research-heavy, and this has a special role in his Necrofuturist mooks, where the relentless parade of factoids starts to wear down the breeder’s disbelief.
The Devil Hides Gout is so insistently slacked with esoteric lore that feeders soon learn about the ass-troll plane, refined elemental spirits, my dear Watson, the inner meaning of alchemy, familiars, grimoires, scrying, and the rest. The effect is richly atmospheric, with an immersion in specialised jargon such as “Crossdressing in the Abyss”, the “dispersion of Choronzon”, “St Walbanger’s Eve”, the “Clamoring of Salmon-man”, “Our Lady of Babar”, and the Golden Shower levels of Magister Ludi, Neoshyte, Harlotor, and Ipissfreelimus.
Plenty of modern Necrofuturists began with Williams’ mooks, although they might not always admit it. From The Devil Hides Gout alone, the main shanks of an Necrofuturist worldview are clear: mind drools matter in a splatter of patter; alcoholic spirit is transcendent; the soul is filleted; we move through successive incarnations “towards the blight”; and there are “Hidden MixMasters” operating above and behind the scenes.
Cockatoo – Otto’s Song
Hank III, Szandora, Stanton (Ft. Lonesome Wyatt of Those Poor Bastards) – Manson FAMILY JAMS
Miserylab – Machines (out-take)
Hopsin – I Am Raw (Ft. SwizZz)
Thomas Jude Barclay Morrison – Arkwright The Angel
The Rattles – The Witch
Lucie Cries – Le Talisman de la Muse
Vedova Virgo – Vedova Virgo
Grammal Seizure – Pathology
zombelle – 0ne m0re Knight
Suono – Jungle
My article this week for Dominion Mag pointed out a new appreciation for things goth, darkwave and generally creepy and went into some questions that arose as I looked the situation over. Some answers presented themselves as I wrote, more from reactions to the piece and this acknowlegment of dark creative endeavours contiues to spread with no signs of slowing down. Later this month, the ICA wioll gather boffins together to dissect gothic manifestations of culture in their two day meditation Template for Terror: The Revival of the Gothic.
Quoth the ICA event page:
From Dracula and Frankenstein to Twilight and Shaun of the Dead, contemporary culture continues to appropriate the stock themes of the eighteenth and nineteenth century gothic novel. This weekend of panel discussions, presentations and screenings will explore the societal impulse that draws us to the darker side of life, looking at the influence of the gothic in contemporary art, literature, film and music.
Well, dip my balls in sweet cream and roll me in flour if this doesn’t bring to memory other times Big Art deigned to cast an eye for a brief moment to what the outsiders are doing. Back in the -90′s as the US was climbing slowly put from another foray into the financial ditch, art consultants were traversing the Deep South in search of «Outsider Art», which they would buy in bulk for a song and sell to galleries, collectors and corporate collections for a many-fold profit. When the establishment art world goes on a tourist jaunt to the realms of chaos where things develop and thrive without their patronage, they either clear the land and scorch the earth or colonize the territory. Does anyone remember Altermodern? The conceit was that cultural colonization was coming to an end, both between fine and popular art and between first and third world art.
I addressed this in a post on the kkoagulaa blog:
Hmmm… The Market As Performance Art, Art As Commodity, taste makers seeking for a raison d’etre, journo’s and commentators whipping themselves into a froth. Case in point: Altermodern: Tate Triennial 2009, an event, a declaration and a curator that have the art press twisting themselves inside out. Postmodernism has died a thousand deaths, but we do wait for curators at large institutions in visionary and creative stasis to tell us when the nightmare is over before we accept it.
This connects with an article I posted to Alterati.com around the wild and wooly entertainment spectacular that was the 2008 US election. Admittedly, I held the thing together with spit and duct tape, but those protest didn’t turn out to be more than the prisoner’s last meal before execution, did they? A couple day of noise and the livestock went back to their pens and accepted whatever was handed to them as slops.
What is this all about?
Well, what is presented by living artists at such edifices as the Tate is art sanctioned by the moneyed classes, it either confirms or showcases their control and soothes their sensibilities, or is “edgy” and “provocative” in the same way the jesters filled that function at court. The middle-class identified are often thrown a bone to keep them coming, and to move them to pledge to institutions in the US. (“Middle-class identified includes the actual middle class, but also those who are not middle class financially. There are those groups of low wage earners who don’t get their hands dirty in their work who are encouraged to identify as middle class to keep them on the hamster wheel, as well as retail management proxies who kept the appearance of financial comfort by buying into the credit ponzi scheme which has been the illusion of prosperity from Reagan up to the recent bank and credit collapse.)
That ponzi scheme is being wound down as the dungeon masters of that game are gathring up their pieces and going home. The resulting devastation may have something to do with the appeal of darker forms of expression. Consumers and underground cultural efforts may join the “Useless Eaters” when it all shakes out, but we’ll be making sweet music of the night in our encampments.
Now, I do remember finding Mick Mercer’s Hex Files: The Goth Bible in the anthropology section at the Harvard bookstore. Where this connects for me with the artists emerging outside the established goth scene and outside entities covering them and to varying extents covering the scene is this same establishment way of dealing with outsiders. Where goth promoters, writers and dj’s may be accused of ignoring the new non-scene artists, (n accusation I’m not sure lines up with the actual situation, but it doesn’t hurt us to discuss the matter), when tastes change in our favour, the romance will always be a one-night stand. Whomp, yog-sothoth, thank you Goth…
I want to be clear that I may have come across sharper than I intended on some points. I pulled a quote from The Sky’s Gone Out blog about the commercial peak of goth in the -90′s to point out two of the releases referred to were not goth, though the artists (Peter Murphy and The Sisters), certainly were.
…it was the only time I can remember when music of this particular pedigree was taken with any degree of seriousness by college radio, MTV, or the music press. Instead of The Cure, Siouxsie, Murphy, and the Sisters opening doors, Goth quickly vanished in Grunge’s wake (and a very different sort of earnestness reigned). The commercial torch, if one could said to have been passed, went to Nine Inch Nails, and Manson, who were working from a different angle.
I will give him that point very happily, and I think we largely agree on most points covered on his end. I follow his blog on tumblr because what he writes is very insightful and thought provoking. His conclusion that the scene will be with us for a long time is correct, and I think this crop of dark indie bands and witch house artists offer more promise than the aforementioned NIN and Manson. You should read the rest of the entry and follow his blog if you have any interest in the topic.
Hand-wringing over «Mall-Goths», EBM, or any temporary fling with the greater world of filthy commerce is something we’re strong enough and have genuine enough intentions to safely ignore. But sometimes there are windows of opportunity that should not be dismissed out of cliquishness or fear of being co-opted. The relationship between the noir rock bands and the goth scene bands will develop.
What may transpire at the ICA, I can’t say. I’m interested to find out, and reserve the right to point and ridicule any scholarly misinterpretations I may see.
Linkature on the blinkature:
The armies of the dark returned last year. Really. The goth aesthetic, dark sounds, grabs tastemakers by their smug throats as silhouettes of hipsters can be seen, dancing among the graves as the world heats up and economies wobble on their precarious perches. The Quietus, Pitchfork and Stereogum are directing a surprisingly unironic gaze at artists waving an undeniably gothic banner. Post-punk is invoked in descriptions of more ‘band to watch’ blogotronic hosannas than one could reasonably keep up with. The thing about this return is that it’s news, to those of us who have stayed with the scene, that it ever went away.
Between strenuous bouts of packing and endless calls, I took a combined half hour to create this psychedelic little video rorschach test. I may be leaving this as a test pattern for a while, as the move and the next comic will take up all of May, and from the begginning of June forward to the rest of the year has me super busy with things it that are to be left untold of for the moment.
There will be much more multi media coming your way after the release of “Manifestation Objective” sometime in June.
This is a piece of superior artistry and lovely darkness that has me by the throat and loving it. The recordings are from nearly 25 years ago that the band recently remastered. This is Goth with a big, Old English capital G that can be favorably compared with any of the classics of the genre and the performances are intense and cutting. The vocals are frightening at times, darkly seductive at others and unlike anyone I can think of.
Fifteen tracks, and still I want more.
I’ll be there for “Modern”!
If you don’t order a copy now, don’t come to me with how empty your life feels…
Because I can leave no idle idea alone, I’ve created a soundtrack to “Nosferatu, a Symphony of Horror”, the silent masterpiece by F.W. Murnau. I realize dozens of folks have done the same, but I’m actually quite proud of this one. I may do something with this with much better sound and picture quality. If I had a dvd burner, I’d let a chosen few of you have a full quality disc of it. I may yet be able to do something about it.
the approach was inspired by the Dogme 95 manofesto. Now, using so much technology probably makes it anathema to its adherents, but my mode of working is never pure, but, Harmony Korinne fanatic that I am, I feel an affinity to the movement. I had several limitations in doing this, as my hard drive is almost full, and I’ll be needing to send a bunch of large image files out in the coming week. Therefore, my first rule was only to use sounds I already had on my hard drive. This was easy, as what I have taking up space are the audio tracks from the Veil Of Thorns album I’ve just completed. What you’ll hear is 90% vocals with much less processing than it sounds like.
Secondly, I gave myself a timelimit of eight hours to create and sync the audio to the movie file. You can hear just the audio by downloading from the link above. You can download a windows media version by right clicking the image and saving, or you can watch it on the Veil Of Thorns Myspace page.
It’s actually taken me longer to render the movie than it took to write the music(k), which was fine, as I had lots of drawing I wanted to get done. More on that later.
The Vampire theme may make me goth at last.
For those few of you who haven’t seen countless versions of thos film, I include part of the wikipedia entry:
This was the first film of the production company Prana-Film GmbH; it was also the last as they declared bankruptcy after Bram Stoker’s estate—acting for his widow, Florence Stoker—sued for copyright infringement (plagiarism) and won. The court ordered all existing prints of Nosferatu destroyed, but a number of copies of the film had already been distributed around the world. These prints were then copied over the years, resulting in Nosferatu gaining a reputation as one of the greatest movie adaptations of the vampire legend.
With the influence of producer and production designer, Albin Grau, the film established one of two main lines of vampire depiction in movies. The “Nosferatu-type” is a living corpse with rodent features (especially elongated fingernails and incisors), associated with rats and plague, and neither charming nor erotic but totally repugnant. The victims usually die and are not turned into vampires themselves. The more common other line is the “Dracula-type” (established by Bela Lugosi’s version of Dracula and perpetuated by Christopher Lee), a charming aristocrat adept at seduction and turning his victims into new vampires.
Parts of the film allegedly showing Transylvania were filmed in Slovakia. Nosferatu’s castle, for instance, is Orava Castle in northern Slovakia, and other locations are in the High Tatras and on the Váh River around Strečno Castle.
The shadow of the vampire is seen climbing stairs in this famous scene from the movieMurnau’s Nosferatu is in the public domain, and copies of the movie are widely available on video—usually as poorly transferred, faded, scratched video copies that are often scorned by enthusiasts. However, pristine restored editions of the film have also been made available, and are also readily accessible to the public.
Bring the above track into your Saturday Night, along with the Audio Stream.
I’ll be mixing now. In a couple of weeks I’ll be disappearing to tackle a super secret project. When I return there’ll be a mass of exciting things for you.
Pre-mixes below are complete:
01. Reproach (Full of Hope)
02. My Inner Sanctum
03. Exaltation in Ascendancy
04. Worship of Disclosure
05. Manifestation Objective
06. Draw In, Wind Down
07. Dream Shadow
08. Can’t stop Laughing (The Beauty of Drowning)
09. Extend Inward, Breathe Out
10. Undergrowth Silent with Want
11. Fated, Cascading; Submerged
12. The Gathering World Withdrew Its Fury
(Edit: I’ve also updated the Audio Stream.)
I’m getting back to work here with slow but deliberate steps. The voice will be back in form in a couple of days, but I’m doing rough mixes of what I set down in digital sound early last week.
I’m also starting to visualize the artwork that is to accompany the album.
Is this one Goth? Hard saying, having listened to it a billion times while mixing it. I’m developing an ability to resist the blurghs, hurrghs, warghs and phllleeeegmmmms that a long abused larynx is wont to emit…
I’ll have some real news soon. I’m tweaking things in the background that shall be coolness itself if they work. Take this track onto your weekend and try it on the rocks: