THE OTHER SOUND: ISSUE #10

Welcome to "THE OTHER SOUND: ISSUE #10". This is the

second issue, and much the same as the 2012 issue (technically
Issue 9) this issue is spread out here via blog version - or a print
magazine re-deux of the early 1980's magazine published by
John Zewizz - "The Other Sound". There were 8 issues printed
before the magazine stopped being pressed. My goal is to have
one of these out every 3 months. I can't guarantee that I will
make it, but I am giving it a shot.

"THE OTHER SOUND: ISSUE #10" picks up where Issue

2012 left off. Inside you will find information about various
Inner-X-Musick artists (Batcheeba), as well as Friends on
Inner-X-Musick (klanggalerie/Walter Robotka, Rat King),
and items that just interest me (Reviews, SexMagick). A Special
thank you goes to John Zewizz, Madhav Ravindranath, Walter
Robotka, Michael Ford, and Janne Berset for their help and
support.

A little about "THE OTHER SOUND"... we are an organized group of people who do believe in
musick. Special musick that is... we believe in keeping our musick prersonal. Not for the masses. Our
musick is made to satisfy the doubt and demand for obscurity. We aim to fulfill the desires in ourselves
and the desires of similar to us.

Our interests fall in the lines of obscurity and obliqueness, be it to look at... to listen to... or to engage
in. Bound by a pledge to bind oneself and keep the betroth of cryptic interests alive inside oneself.

And so comes the name "THE OTHER SOUND", the sound remaining.... remaining from the
majority - (the larger number, more than half) - the masses. "THE OTHER SOUND" is our musick,
our beliefs, our interests, OURS what belongs to US.

Thank you,
TBM
 There Is Beauty Yet To Be Seen
The Batcheeba Interview

On the verge of her first release on Inner-X-Musick. Batcheeba has completed her busiest year yet with
tracks on "XXX 69", "Black Industrial Grimoire", "That's Romance: A Loving Tribute To John
Zewizz", as well as a collaboration with Grammal Seizure on the GS release "Esoteric". 2010 see not
only her first official full length release, but also continued collaborations - including with John Zewizz
for an upcoming SLEEPCHAMBER release.

TBM: For someone who works at a snails pace (musically), 2009 was a busy year. I am guessing it was
a lot like getting teeth pulled for you?
BAT:That is a very good description of what it did to me mentally. Quite honestly several times I
wanted to end it all. Not life, but music. I felt my creative freedom got totally fucked over. Doing
collabs and theme compilations , is torture for me. I work intuitively, and I can't do that when the
guidelines are laid down. It drains me completely. I am still trying to recover from 2009. I get sick from
just thinking about making music now.
And on the other side 2009 was grand. I got to work with very talented ppl and become part of the
Inner X musick family. People i care about are pushing me, and helping me make the right decisions. I
think I've made the right choices for 2009. I don't regret anything. I told a lot of people no. Meaning i
probably missed out on important possibilities. But sanity comes first.

TBM: Your track on "That's Romance: A Loving Tribute To John Zewizz" was brilliant (Batcheeba
covered the legendary Sleep Chamber track "Kiss The Whip"). It had a captive, vulnerable feeling to it
- which really gave the song a new direction, a new life. Where were you hoping to take the track?
BAT: Oh that how i love that track...
I wanted to capture the essence...the erotic vibe I get from listening to the original track . You know
after watching a film, the feeling you are left with. The images printed into your brain. The images you
cum to later the same night. THAT is the feeling I wanted to create. To get inside people's head and
give them a proper head fuck. Sex magick baby. I have a close relationship with the whip my self. The
whip is such a powerful tool. The strokes break you and make you. Some people reading this will nod
their head, and some will not understand what the fuck I am talking about. I am selective, I don't give a
shit. My moaning in the track is meditative. I want people to put on their head-set, turn up the volume
and get off. That would make me smile.
TBM: What is the progress on the upcoming full length release on Inner-X?
BAT: That is a horrible question! The progress....
Most of the tracks are done. I have been so lucky as to have talented people like Continental Fruit,
Gird_09, Tomas Kulberg (Atropine, Epi, Mauld by Sloths and more) in on the release. Continental
Fruit made this stunning track, sort of old school goth, and I did a sultry vocal for it. I think this track
is one of my fav's on the upcoming cd. I have 2 tracks I need to master, and a couple more I need to
get done. I am worried. I want it to be perfection. By that I mean in emotions. I can't finish it until it
feels right. I have to be done with all the tracks mentally.
TBM: Is there a over ridding theme you find as you go through the recording process despite
working with so many people.
BAT: Reading a book on self mutilation and auto erotic asphyxiation this summer (my fav subject
btw), I came across a conversation between a young male and his abusive mother.
He says: I have a witch inside. The mother answers: I know how she got there. That really inspired
this cd. People who like my work, will be pleased to see that this release, like all my work, evolve
around the darkest rooms in the human mind. What seems brutal and grotesque to most, is beautiful
and fragile to me. Like the note a young man left in his room, after accidentally dying from auto erotic
asphyxiation: Please be gentle when you cut me down. Most of us know so little about the perverted
mind. I have read so many cases, and seen so many pictures of depraved acts. And I see sadness in so
many of them. These people live their hole life carrying secrets no one knows. And most die feeling
shame, after living a life of loneliness. I want to honor these people. I want to honor the deviants. That
is the theme for this release.

TBM: It fits you perfectly and its an interesting theme too, coming from someone who has told me
many times recently that she "hates musick". Explain how that plays into the process?
BAT: well the problem is that it does not play into the process. It fucks it up. Actually it is so complex
i don't even have a good answer for you. What I can say is that i do hate musick right now. NOTHING
makes me feel anything. I can't stand any of my CD's. I can't stand listening to Gird's CD's either. This
is most likely due to hyperacusis, a condition making me over-
sensitivity to certain frequency ranges of sound. How cruel is
life? To curse me with such an illness, me who used to live for
sound. It's torture. I've had this condition for 7-8 years now.
Maybe it will end my passion for making music. I don't know.
Don't want to think about it. Next question.

TBM: I want to know about Bat and Magick. Tell me how it

plays into your life. I know you practice some very private
rituals, but how do these influences manifest them selves in the
persona "Batcheeba" and her musick?
BAT: Like I've stated before: magick is everything, in
everything. I think some people are afraid of engaging in magick
rituals because they think they need to do it "right". Sure some
rituals will have the best effect if done by the book, but this does
not mean we are not free to use a little of this and a little of that.
Some of the rituals we do are self made, and some are not.
Honestly I feel this does not affect the end results. It's all in the
power of will. It's the same with symbols. A symbol is nothing
but a geometrical construction until we add meaning into it. With Batcheeba this plays a huge role. It
flows out of me, and I never censor anything. Thinking too much ruins everything. The rituals we
engage in, are equally important, if not more important then the music it self. If the music is the
action, then the rituals are the photographs or the paintings of said actions. Sometimes music leads me
into rituals and sometimes rituals leads me into music. It's constant for me, like a rhythmic pulsation.
A aural shamanistic drum, vena cava. It's blood. Life.

TBM: Do you incorporate magick into your world view. I know you are an anarchist. Is this an
outgrowth from practicing magick - or did your belief system grow from Anr
BAT: Well, I am proud to say I am a Buddhist and an anarchist. I
don't see any problem with incorporating multiple believe systems
into my life and work.
I think we touched into this in the last interview, my need for
duality. Living with dissociation disorder, makes it rather
impossible not to incorporate duality into everything I do. I know
if i didn't have my mantra there is beauty yet to be seen, I would
have a mental melt down due to all the fucked up shit going on in
the world. Anger keeps me kicking, and my Buddhist philosophy
balances it all out. I love the world, it's the human race I can't
stand. I did vent massive amounts of anger in the side project Cult
Of Twins. And FRz0 is my way of exhaling. So magick and
anarchism does not grow from each other, they are just both a
natural part of me and my music. The one thing I will never learn
to live with, is how the fuck people can be so blind, deaf and
dumb. I scream, but they don't listen. I guess I am preaching to the
wrong crowd.
TBM: "There is beauty yet to be seen", is a beautiful mantra. But I suspect the beauty you mean is not
an obvious beauty...
BAT: Haha....as in everything Batcheeba loves is gore and death? No I am talking about love,
compassion, nature...
I am saying that every problem has multiple solutions. When friends struggle, and my friends struggle a
a lot, I tell them just that. I am a strong believer in being the master of your own life. Its everyone
choice to end their life. But there is beauty yet to be seen. Die today and you will be missing out on
some magickal experience in the future. That keeps me going. Life has been fucking brutal, but I have a
million things I want to see before I leave this world. People sometimes needs to be reminded. I think
depression makes me realize that. I love the sea...where I grew up the sea is pitch black sometimes. I
love the waves and the sound they make. I love the massive woods, I love the way the wind makes the
trees talk. See, now I got myself all worked up into tree hugging hippie mode! What's is waiting
around the next corner? It could be a serial killer with a crack problem, or it could be a silky black cat
who just wants a cuddle. But I want to know damn it! Bring it on.

TBM: Ah... but depression breeds passion, which in turn breeds inspiration. This is true in sorrow as
much as in beauty. I suspect then that "there is beauty yet to be seen" is very subjective for you then...
correct?
BAT: That is a very emotional question to answer...
My brother killed him self when i was 20 years old. He shot him self. Up until that very moment I
thought I knew what pain was. Trust me on this: Until someone you love takes their own life, you have
no idea. He was my idol. He is the main reason why I am so passionate about music. He opened the
doors for me. I carry those seconds inside me always. My sisters voice on the phone. My fingernails
slashing open my very existence. Ripping everything into shreds. Bleeding out of every pore. Everyday
I feel those seconds. I was severely ill for years after that until I had to get help. I did not smile, did not
laugh, did not drink, did not go out. For years. I had to keep him alive by mourning. Took a a lot of
hard work to learn how to live again. And even though it's been so many years, I still fall apart for
months. I am still trying to figure out how to let go...it's a massive struggle...my life has been a fucking
nightmare....and still here I am. And I still laugh like a school girl when snow falls on my face.
Everyone struggles, life is hard work. Work hard at it.
Listen...pain leaves you with experience, with valuable knowledge. Use it. Use that in your art and in
your music or in your writing. I do! Otherwise it's just wasted pain, and no pain should be wasted.
Don't keep it to your self, share your pain with the world. So head up high, put those boxing gloves on
and fight back, people. I've got my armor on. I am ready.

Batcheeba Links
www.myspace.com/batcheebalyd
www.last.fm/user/batcheeba
twitter.com/Batcheeba
 Klanggalerie
The Walter Robotka Interview

Since 1993 Walter Robotka has at the forefront of the underground musick scene. Based out of Austria
- Walter, through his label Klanggalerie, has been providing the world with some of the best Avant-
garde and experimental musick now for over a decade. A cursory glance over his discography see an
impressive array of artists; The Hafler Trio, David Jackman, Rapoon, The Haters, Thighpaulsandra,
Konstruktivist, Cyclobe, Psychic TV, Phallus Dei, Merzbow, Nurse With Wound, Muslimgauze.
Scanner, and SLEEPCHAMBER.

TOS: My assumption is that in the beginning with Syntactic the discography is in chronological
order.... but looking it over, I don't think so. What was the first Walter Robotka/Syntactic release and
how did it come about?
WR: The catalog numbers for releases were planned in advance, then it depended on how fast a
musician provided an audio master. If cat no 17 was ready before 12, for example, then it was put out
earlier. Same system as i am using for Klanggalerie. So actually the numbers reflect the planned release
order, not the actual one. The first record that I ever put out was in fact two at once: "Hibakusha" by
Organum and "Fallen Gods" by Rapoon. Both were released in December 2003. Shortly before, I was
traveling through the UK and visiting some friends. Robin Storey and David Jackman were amongst
them at the time. I asked them both whether they would be interested in releasing some music in a
microscopic edition of around 50 copies, and both liked the idea. In fact, David Jackman later said that
he should have only released singles in his entire career. I think I started thinking of releasing music as
collecting only became a little boring. I had always written to bands and musicians whose work I liked
anyway because I wanted to find out more about them, about their philosophies and world views. So by
the time I started running a label, most people I worked with were friends anyway. Second and third
were Konstruktivists, the most underrated band ever, and Legion, a Lagowski project.

TOS Did you set out to run a label?

WR: I was a fanatic collector of Industrial and Avant-garde when I went to school. My learned
profession is psychologist. After finishing my studies, I started to wonder whether I would want to
spend my life listening to other people's problems or whether I wanted to surround myself with books
 and music. The decision fell, quite obviously, in the direction of
the latter. So I turned the label from a hobby to a job, and opened
a little bookstore as well. This is called "Mord &; Musik"
(Murder & Music) in Vienna, the label called Klanggalerie
instead of Syntactic.

TOS: You started with vinyl. Mostly singles... a few cassettes a

sprinkling of CD's. Now it's just CD's. Why the change?
WR: Well in the first place I became a CD fan very early on
when they were newly introduced to the market. The improved
sound (I know some vinyl collectors will want to kill me for this
statement), the convenience of a longer running time, the actual
size of them all really got me into this digital medium quickly. I
still liked 7"s vinyls a lot though, and actually, when I started in
93, singles had nearly disappeared from the market. Later on,
hundreds of labels started releasing 7"s again, and I thought there
wasn't much special about them anymore (although with
Syntactic we used to have these handmade sleeves that were in
fact quite special). Anyway, with Klanggalerie I started doing both, but soon found it difficult to
distribute both. Some companies only wanted vinyl, others only wanted CDs. The final decision to end
the vinyl releases was the Nurse With Wound single. NWW had been my all-time favorite band and
when Steve gave me the tracks for "Echo Poeme" I wanted to do everything right and changed for a
different pressing plant that I thought would do a superior job to my standard one. Well, it turned out
they didn't, in fact they fucked up the record three times, and even the final version doesn't sound
perfect. So I swore to myself never to do vinyl again after that... ( A trauma? ) ;-)

TOS: Why did Syntactic close up.

WR: I reached a point when I thought that I had done everything possible with the hand-made sleeves.
Towards the end, I started printing standard covers, but it felt like this wasn't what Syntactic was about.
I wanted a new CI which was the black & white sleeves of early Klanggalerie vinyls, without any
information on them. Klanggalerie means Gallery of Sound, and I wanted the singles to look good
when hanging framed on the wall, not only to sound good when being played. So both the visual and
audio aspects were equally important.

TOS: Is there a difference between Syntactic and Klanggalerie.

WR: There weren't any hand-made covers on Klanggalerie (with the exception of the Omenya single),
and on the other hand Syntactic didn't release any proper Cd's, only CD-R's.

TOS: While Klanggalerie releases musick from new artists, you also bringing back works by artists
that may have been lost to time (specifically releases like Blackhouse "We Will Fight Back!",
Nocturnal Emissions "Drowning In A Sea Of Bliss" and "Tissue Of Lies" and many more). How do
you choose what to release? Do you seek the artists out, or do they come to you?
WR: This varies. Sometimes we get contacted by bands, we are for example receiving tons of demos,
sometimes we ask for permission to re-issue something. The choice of what to do is still a very
personal one. If we like something, we put it out; if we don't we won't. Nocturnal Emissions have
always been a favorite band - we have worked together so many times, and have decided to re-issue the
whole back catalog. Blackhouse's "We will fight back" is another classic that we thought had a) been
out of print for too long and b) had been treated cruelly in regards to cover design. So for our re-issue,
we used Julie Frith's original drawing instead of the crucified rabbit or the really bad computer graphics
used on the first CD issue. Sometimes there is a kind of synchronicity: Cultural Amnesia, for example,
contacted us just when we were going to write to them.

TOS: "Liez In The Skyz", "Cuckoo Clock", last years "Sorcery, Spells, and Serpent Charms" and
now "Satanic Sanction". Your labels have crossed paths with Inner-X-Musick several times. I know
for a fact John Zewizz is quite pleased with the releases. When did you become interested in
SLEEPCHAMBER?
WR: In around 86, I met a guy who is now a good friend, at a record store in Vienna who was looking
for a Zoviet France LP. He was talking to the sales guy who said it was out of print, and since I had two
copies at home, I approached the guy and asked him whether he wanted my second copy. Of course he
agreed and we went to his place. He showed me stuff from his collection and I remember being
extremely impressed by a really strange cover that was much heavier than European vinyl covers at the
time. That record was "Spellbondage" by Sleep Chamber. I loved the music immediately, and of
course, when I got my own copy, I peeled off the sticker to get a look at what was underneath ;-). My
second LP by them was "Submit to Desire" which I also loved. It was only a little later when I
discovered they had also done some ambient/ritualistic stuff. When I was a student, and didn't have
much money (not that I do now), I heard that both Sleep Chamber and Whitehouse were playing in
Bavaria some time soon. Together with a friend, we decided to get a car and drive to one of these
events. Our decision got us to the Whitehouse gig, not Sleep Chamber, and although Whitehouse were
great, I have regretted this decision ever since as I've now seen Whitehouse 6 or 7 times and Sleep
Chamber not once.

TOS: Times are changing. And the medium people by their

musick seems to evolve almost yearly. Are there any plans to
release digital versions of the Klanggalerie catalog, or any other
type of release other than CD's?
WR: Dark Vinyl in Germany are starting to offer download
version of the music they distribute. Personally, I am not a huge
fan of download releases, but one should never say never,

TOS: What does 2010 hold for Klanggalerie?

WR: Only the best, I hope ;-) Some of the items coming out will
be "Satanic Sanction" by Sleep Chamber, "Now wait for last
year" by ex-Nocturnal Emissions member Caroline K.,
Thorofon's "Maximum Punishment Solutions", "Black
December" by Konstruktivists, "Eve and the Plastic Apple" by
Mushroom's Patience, and a very special project that we've been
working on for months now is a compilation of Austrian new
wave of the 1980s entitled "Neonbeats". Re-discovering Austrian
avant-garde will possibly become more important in the future as
the previous releases like Viele Bunte Autos and Graf &; Zyx are selling really well and lots of people
even here have never heard of these groups before. I am sure we will be promoting some concerts
again, and hopefully seeing some great bands live.
 LUCIFERIAN SEX MAGICK
Rituals of the Infernal and Empyrean
By Michael W. Ford
Sex Magick is a practice of refining the consciousness and activating a perpetual state of self-
transformation in accordance with the will. Luciferians view Sex Magick as a potential tool for this
aspect of introspection and transformation. This article will explore two aspects of sex magick with
Luciferianism, the infernal and the empyrean.

Understanding Sex Magick requires a inner-drive towards self-excellence and a sense of drive within.
Goals are essential in every aspect of life, even one of sex magick. The foundation of Sex Magick is
understood as Kundalini, or the Coiled Serpent which dwells at the base of spine. As this serpent is
aroused through mantra or sexual workings, the dragon rises up from the depths through the Chakras.
The nature of compelling the will to manifest your desires is done with potency when the Kundalani is
awakened.
KUNDALINI - THE SERPENT OF THE DEPTHS
Kundalini is the supreme power source of power within the body and spirit. The very essence of
Kundalini is a cycle of power in its purest form. Kundalini is the latent cosmic energy within every
individual, it is not, however, a causal experience.

Kundalini is the source of two vital currents associated with the body and spirit; Prana, vital energy and
Virya, sexual potency. The terms of Kundalini being the life creator it is also associated with Samael
and Lilith, the Red and Black Serpent. You may associate Leviathan as the essence of Kundalini, vital
spirit and virility.

Leviathan, here the same as Apophis, is related, just as Kunalini is, to the unconscious and latent
powers of the mind and body. The Kundalini, the crooked serpent or coiling one, is both creative and
destructive.
The Luciferian understands the traditional perspectives of peace
and harmony, however will not apply this methodology which
often lacks power and perspective. The Luciferian understands
Kundalini is a devouring force; thus it should be utilized to gain
more power and knowledge. Kundalini is a powerful force, once
which drives humanity to achieve greater heights. In knowing
this, learning the techniques of arousing Kundalini is essential.

Kundalini Yoga when utilized with Ahrimanic Yoga will prove a

experience of great ecstasy and power. Please approach this with
caution as it can also corrupt and destroy.

Kundalini is a force raised upward from the base chakra upward.

When focusing on this fire serpent, visualize the Daevas or
Demonic powers in each chakra as empowering and
strengthening you. Remember, the demonic is nothing more than
the Therionick or Bestial atavistic powers within. Understand
how you relate to the Daevas of the Chakras, and then mastery is
within sight.

The purpose of Ahrimanic Yoga is not to cause great “evil” and “destruction”, it is about learning,
utilizing the knowledge and gaining power from it. The spirit, mind and body will benefit from this
practice in a Luciferian paradigm.

To begin, understand that Kali is the force which motivates and empowers Siva, the Lord of the Dance
of Life. From a Luciferian perspective, these powers and deities are the same – the only difference is
the Luciferian seeks peace and harmony within as a temporary manifestation of clarity and direction;
seeking soon to utilize the hidden or “daemonic” desires to expand and grow stronger from other
desires.
SEX MAGICK BASICS
Sex Magick is as unique as the practitioner; with this written it is not an open invitation for promiscuity
without purpose. Sex Magick should never be something “to get some” for some loser who only has a
basic attraction and equal ignorance in the purpose of the art.

The Scarlet Woman, Shakti or Demonic Feminine is a gateway to both spiritual ‘heaven’ (ecstasy and
higher inspiration) and ‘hell’ (ecstasy and the carnal desires of the mind and body. Hell is traditionally
known as the hidden place). This High Priestess is a Daughter of Lilith, one who is equal and one-half
of the Adversary, thus she inspires and repels, she creates and destroys. In all sex magick workings, the
Black Adept should work in pairs – a male and female towards the aims of either Infernal or Hermetic
Sex Magick. Solitary Black Adepts may use artistic symbols of the Lilith if single or without proper
females. Soliciting partners who have no idea about the Magickial Arte will serve little use and will
lessen the sacred “spirit” of your rite.

In the Sethanic Cult of Egyptian Magick, the Black Adept utilizes a partner (female) who is initiated
into the Cult of Masks, therefore utilizing balance and an equal share of power via the Great Rite. The
Sethanic Circle is cast and utilized in the working, along with other Sethanic symbols of balance.
Surprisingly enough, Gods such as Osiris and Amun-Ra are utilized in Circle Castings – in perfect
balance with Seth-an and the rest of the Triad of Darkness.
In the Infernal Sex Magick workings including Yatukih rituals, the Black Adept will utilize human
bones, including a bowl called a Kapala which is made from the top of a human skull. Fetishes are
created and used, such as the Fetish of Cain (see photo).

Your altar area depending on the type of working should be adorned accordingly. Sound is very
important as well. Consider than tone and melody will inspire the mind towards the type of atmosphere
you wish to create. If an infernal sex rite involving intense copulation with your partner, Petro Voodoo
drumming or intense Arabic trance inducing sounds would be useful. If you are conducting a working
involving the calling forth of shades from the astral plane, something ambient would be suitable. If a
High Ceremonial Sex Working consider something with bright tones which stretches out in ambient
collectives – avoid intense vocals and ensure drums are slow and paced out properly. If you are
conducting an Egyptian Sethanic Sex Rite then don’t utilize techno in your workings, try to place
yourself directly in the ambiance of your work.

INFERNAL SEX MAGICK

ADAMU – Luciferian Sex Magick is a grimoire which expresses the foundation and depths of infernal
sex magick in a poetic form. This grimoire has offended many since its publication, continuing to drive
people away from its forbidden pages monthly. ADAMU expresses the Therionick, or Beast-
like/Demonic desires of the Black Adept. These Therionick Atavisms take form as bestial/reptilian and
grotesque fetishes of primal desire, much akin to the sorceries of Austin
Osman Spare.

As with all Luciferian Sex Magick, there are aims in which the Black
Adept strives to. Firstly, the black magickian has hopefully developed a
strong sense of discipline and will, for often sex magick in the infernal
worlds can open the gates to subconscious where other sentient beings
seek to take hold. These primal ID’s or desires take the flesh of demonic
manifestations. These desires should be explored and expressed, either in
a solitary sense or with a partner of the opposite sex.

The purpose of Therionick or Infernal Sex Magick is to understand,

explore and harness the primal energy of the subconscious through your
desire. This is done by exercises actually embracing these elements and
through relation controlling them with a sense of discipline. By becoming
consciously the source of such darkness (like Ahriman, Set, Satan or any
other Dark God or Goddess) you become the Adversarial center of the
current. Once practiced, your experience with Magick will change in
ways you could never perceive by mainstream or culturally accepted “magick” or “witchcraft”.

Basic practices of Infernal Sex Magick are for purposes of achieving a lustful union with your partner,
yet also becoming fully aware with your “shadowside” as well. Ritual workings include adorning your
working chamber (or bedroom) in specific “Therionick” or Beast-like imagery, demonic symbolism
and the like.

Austin Osman Spare was an adept in the workings of Infernal Sex Magick. His numerous illustrations
and paintings demonstrate his Magus-like ability to ‘flesh out’ the manifestations of his inner-world
and desire. Spare was called a “Black Brother” by Aleister Crowley as his ability to create his own
inner world as a direct bridge to his subconscious was legendary. He cared little for the mundane world
 and was pleased to live in poverty while he could have created a
successful art career.

“Aspiration towards a “supreme” is a network of deadly desires

because of cowardice within, ergo, some unsatisfied wisdom
awaiting exploitation to suffer its evolutions” – The Book of
Pleasure by Austin Osman Spare.
Spare was aware that seeking something “supreme” above yourself
was essentially suicide, that the individual who was able to become
and ascend as the divine within held the keys to self-deification.
Exploring these desires was an essential part of this formula, thus
the subconscious was a gateway and the sigils within the mind
were the grimoire pages in which it communicates.

Austin Osman Spare, in his symbols of sex sorcery was able to

offer a grimoire which was completely left hand path, creative and
powerful for the Black Adept who would be willing to utilize it. Infernal Sex Magick to AOS was
simply exploring the hidden desires within, utilizing them in a way which brought you the wisdom and
insight needed now.

Aleister Crowley was a somewhat different type of Sex Magickian, his works no doubt were fueled
with an ever increasing aim to the “supreme” or inner empowering aspect of consciousness; the True
Will itself. Crowley was well accustomed to both Infernal Sex Magick and Empyrean Sex Magick, his
magickial diaries demonstrate both1. Through “Demon est Deus Inversus” is but through the shadow
discovering light. In Luciferianism, terms such as Angel and Demon are metaphors for temporary states
of being. The balances of workings create this needed process of destruction and creation.

In Qlippothic Magick, the combination of male and female sexual fluids creates “Sacrament”, that
being the base for materialization of qlippothic spirits. For instance, using a sigil of Paimon or Belial,
to bring forth a measure of success one may use both in a sex working focusing on the sigil of the
spirits. Upon climax the fluids will be placed on the sigil of the spirit to create the base materialization
for the demon. You may keep the aforementioned sigil for any amount of time required, simply
recharging it when needed. This type of magick may create vampiric spirits as well, those shades which
feed from your vitality. Black Adepts in The Black Order of the Dragon often have dealt with such, in
turn draining the shades to regain vitality in both the physical and astral planes.

In specific Infernal Sex Workings, workings with the Yatuk-Dinoih have proved powerful in a
combination of efforts. To open gateways in the subconscious to the spirit of Angra Mainyu, or
Ahriman the Yatus (sorcerer) may copulate with the Pairikas (witch or female partner) who is
menstruating or has stored her blood in an airtight container previous. You may burn in an oil-burner
this dried or semi-dry menstrual blood while invoking Az-Jeh, the Mother of Demons and by
copulating, the fluids are then dripped upon the sigil of the Daeva called forth. The sacred fire or Black
Flame of Ahriman, often burnt at the altar should have hair and spittle touched into the flame to
consecrate it to the powers of darkness. Such Yatukih workings as described in Luciferian Witchcraft,
Gates of Dozak and even Adamu express a potential power surge in both participants which must be
controlled. The Daevas and Druj are given material base in the World of Ahriman, which is the
darkness made flesh. In such said, being comfortable with physical aspects of sex sorcery should be
suggested in order for the Yatus and Pairikas to initiate themselves properly.
 EMPYREAN SEX MAGICK
Workings of Empyrean Sex Magick are a type of transformative working which does not aim at
material gain or the fulfillment of lust per se, rather towards a higher enlightenment and obtainment of
knowledge. I always suggest to Black Adepts that they must first become comfortable with working in
Infernal and Dark Sex Magick workings FIRST. Never to defile the body or mind, rather to become
strong through the process of initiating the self in a balanced perspective.

No Black Adept in the Luciferian Path should ever participate in a Black Mass utilized to defile the
body or mind; the Rite of Darkness must be made to liberate and empower the psyche with the
Therionick Atavisms of our depths, thus stirring forth the stooping dragon from slumber.

Empyrean Sex Magick is found in Luciferian Witchcraft with the rite called “The Sabbat of Azothoz –
the Fire of Cain” in which the Black Adept and his Partner shall under ritualistic focus copulate until
complete exhaustion, over and over again through a period of one night. The Working itself leads to
self-evolution and the opening forth of the mind to higher aspirations of the Will. The results are seen
gradually in the weeks to come after the working.
In the Sethanic Cult of Masks, my own work with the unpublished grimoire of Charles M. Pace, known
as Hamar’at has lead to a deeper understand through the experience of High Hermetic Sex-Magick.
The Sacred Ritualk of the Ankh-Ka brings a perfect union between male and female in the Luciferian
aims of the Black Adept. My own work in the Sethanic Cult of Masks will lead to a publication of a
study of Charles Pace including the rites associated. One may notice a more powerful and pure
Egyptian inspired Sethanic Rite than any Crowley inspired working.

Charles Pace was an innovator and “grandfather” of the Luciferian path as it is today. As early as 1963
Charles Pace, was initiated into Egyptian Magick and called himself a “Priest of Set” was himself a
confirmed “Satanist” and “Luciferian”. This pre-dated Anton LaVey by a few years although Mr. Pace
and LaVey had communication in the 1970’s. Charles Pace wrote two specific grimoires (unpublished)
on Egyptian Sethanic Magick and was associated with many or the original Wiccan covens of the
1960’s. His work was shunned due to the timing and company he obviously kept, until now not finding
a suitable manifestation.

The Ritual of Ankh-Ka displays an image of the Triangles of Darkness and Light, where each partner
may utilize in their own ascension into the Sethanic mysteries.
SUMMARY
Sex Magick as described here goes much deeper than what can be presented in this article. The aim was
to identify two specific aspects of Sex Magick as a means of outer and inner transformation by the Will
and the union of two. No longer should the Adversary or Rebel be seen as a simple defiler, for the devil
as the Christians call it is simply the liberator of the mind and body!

FURTHER READING:
ADAMU – Luciferian Sex Magick (Succubus Publishing)
ADVERSARIAL LIGHT – Magick of the Nephilim (Succubus Publishing)
THE GATES OF DOZAK – The Book of the Worm (Succubus Publishing)
THE BIBLE OF THE ADVERSARY (Succubus Publishing)
LUCIFERIAN WITCHCRAFT (Succubus Publishing)
THE SETHANIC CULT OF MASKS (A Study of Charles Pace by Michael W. Ford, Currently
Unpublished)
P. Emerson Williams
TOS: How long have you been working in the graphic design field?
P.W. That would be on and off for about 18 years, if one doesn't count
some work for local businesses in Maine in the -80's. Much work in the
-90's was for magazines, more as an illustrator than layout and design.
With the advent of the internet, most of those 'zines disappeared. Since
then, my design and art skills have been used more for CD covers,
theatrical posters and book covers and illustrations.
TOS: What are some of the CD's, Posters, Books, etc that have
featured your work?
P.W. A short list would be the cover for a split 10" ep with Primordial
and Katatonia for Misanthropy Records, covers and layouts for
"Sorcery, Spells and Serpent Charms" and the forthcoming reissue
of "Satanic Sanction" by SLEEPCHAMBER. Other CD covers
include "Save Us Dr. Phil" by Womb Raider and "Larva" by the great
Rat King.

For the past three production of FoolishPeople, (Cirxus, The Abattoir Pages and A Red Threatening
Sky), I have been responsible for art and design of the posters, programme and web PR graphics. The
web flyer/print poster for Rat King's Larva was a particular pleasure.

Some recent book covers are for Original Falcon - "Pacts With the Devil" by S. Jason Black and
Christopher S. Hyatt Ph.D., "Aleister Crowley's Illustrated Goetia" by Lon Milo Duquette, "Secrets of
Western Tantra" by Christopher S. Hyatt Ph.D.and "What You Should Know About the Golden Dawn"
by Israel Regardie.

TOS: Where are you based out of?

P.W. The bowels of Hell, aka Central Florida.

TOS: What do you consider your style of art?

P.W. My main stylistic inspirations are from the decadent artists of late 19th century Vienna, the
surrealists and photographers, from Imogen Cunningham to the Starns twins, to Joel-Peter Witkin.
Where that leaves me is anyone's guess. I should latch on to a marketable category like "Visionary
Artists", but none I can think of fits for the entire range of what I do.

TOS: What got you started?

P.W. My tenuous grip on sanity and many, many hours alone. Instead of reaching out, I pull others in.
TOS: Where do you draw inspiration from?
P.W. Things I've witnessed, internally and externally. Literature, music, conversations with other
creators and people who appreciate my work who kindly come forth and tell me about their
impressions. I'm pushed further by the process of working with collaborators and clients.

Contact info:

chaos333@gmail.com
 THE DISEASE SPREADS
THE RAT KING INTERVIEW

Avant Garde, Progressive, Industrial, Metal. All these terms describe RAT KING, whom profess
influences from of all places... the movies. Drawing heavily from the feel of movies by John Carpenter
and David Lynch, Rat King is a new breed of musician, coming from a unusaul place... India. In a land
where traditional folk musick is so powerful that it bleeds into contemporary musick freely... RAT
KING dares to explore the western style of Metal - and make it their own.

TBM: Thanks for spending some time with us... for those that may not be familiar with your musick..
epic comes to mind. Each song is huge. With elements of classical, metal, industrial, noise.... where do
you draw your musical inspiration from?

RAT KING: Thank you for having us. Our musical inspiration seems to stem from the concepts that
we're trying to convey. It's about sounds, moods, textures
and atmosphere more than any particular musical idea. We
listen to everything from Albert Ayler to Immolation.

TBM: What makes you guys stand apart from most in the
underground musick is your musicianship. Truly, RAT
KING seems to be made up of masters of the craft. How
long have you been performing?
RAT KING: I don't know if we qualify as being 'masters
of the craft' but we do put a lot of time into our music and I
guess that reflects in the end product. RAT KING came
about around early 2008. But we had been involved in
music even before that. We immerse ourselves in a ton of
music and movies and all that information has to come out
in some form or the other. RAT KING is the shape it
decided to take.

TBM: What is the current line up of RAT KING, and has

it changed over time?
RAT KING: Just me and Murari.

TBM: As a two man out fit, what are live performances like?
RAT KING: We're a studio project. We would love to perform this stuff on stage, maybe if somebody
decides to finance us for a big stage production with actors, live musicians and the whole shebang.

TBM: Tell me about the concepts behind "Larva"?

RAT KING: Larva tells the story of a man whose mind
deteriorates progressively as a result of a series of
visions/nightmares in his head. These nightmares make him
confront and question his own morality, as well as his faith,
eventually drawing him closer and closer to a complete physical
and mental breakdown. More about the visions: they are largely
surreal in nature, and are invoked by a force [the Rat King]
whose dogma pervades these imaginary environments. The
protagonist suffers (sometimes directly, at other times
vicariously) the eternal moral question of whether he is good/evil
and whether such things exist.

TBM: Can you tell me more about this force "The Rat King'?
RAT KING: It's a character we developed on from our first
album 'The Plague of Hamelin'. It's a sub-creature that has evolved into a kind of shape-shifting
godhead. In this particular story it manifests itself in a troubled middle-aged man's dreamworld. The
more I get into the concept, the more obscure it seems. There's this constant confusion about the actual
existence of the Rat King. It's ambiguous and perfectly clear at the same time. I'm not even in a
position to explain it anymore. We had lived with this concept and developed on it for so long, that I've
lost track of where it all came from and where it's going. I would love to hear another interpretation of
this concept from someone outside the band because we've kept it so open that there's really no limit to
where it could go. I hope that clarifies some things.

TBM: It has actually left me baffled and intrigued. I am a troubled middle aged man! How is Rat King
accepted in your home country of India?
RAT KING: I don't really know the extent of it but we've had good reviews all around. Not a single
hate-mail to our name!

TBM: How about I rephrase the question... Is RAT KING likely to build a fan base in India, or outside
of India. Is the Indian population ready to experience this phenomenon.
RAT KING: Once the music is out there, it's like a disease. It might stay dormant for years and years
until finally it unleashes its full potential. Our music is so overtly dramatic, that it's hard to not get
drawn to it. That being said, I don't think RAT KING is likely to have a fanbase anywhere. There's
nothing for people to latch onto except the music. We're a studio band without a face. What are the
odds?

TBM: What does the future hold for RAT KING?

RAT KING: New sounds, new noises. Exploring new mediums of expression. More music, definitely
ROADCREW RECORDS -
TBM: People will be surprised to hear that there is a ‘scene’ in India. I suppose that comes from a
Western perspective that most Indian musick is based on traditional Indian concepts. But there is a
scene. Can you tell me about the Underground musick scene and its popularity?
ROADCREW RECORDS: There has always been an Underground music scene in India but until the
advent of internet, it was highly localised, existing in just the big cities. It would also be safe to say that
it was essentially a primitive form, with barely any real influences and inspirations, and this was simply
because there were no real opportunities to discover any new music or styles. The traditional Indian
music scene, albeit very popular and a fine art form hardly gave anything to the musicians and
‘Western’ music by itself was frowned down upon. But the real wave hit just about 7-8 years back. The
internet boom opened up avenues to new music, knowledge, networking and so much more. Now,
we’ve got several hundred bands stretching across the length and breadth of the country, playing genres
ranging from jazz fusion to technical death metal and everything in between. Indian bands are working
with Grammy nominated producers and are releasing albums in collaboration with international artists,
Indian metal is going truly global with Demonic Resurrection and Kryptos touring Europe this year,
Rat King getting internationally recognised and bands like Hammerfall and Opeth playing in India,
with rumours of Nile and Behemoth to follow. This is something we never could’ve imagined even
about 5 years back.
And the success of Indian bands brings an increase in popularity too. School students are picking up
guitars and getting actively involved with music, 13 and 15 year old kids are starting their own record
labels and distribution outlets, music is actually becoming a viable career option for many, which is like
a breath of fresh air in a country overflowing with conventional professions like engineering and
medicine.
Things are definitely looking up for the Indian Underground.

TBM: Are there more western bands willing to come and play in India now?
ROADCREW RECORDS: Well, that’s for you to say, isn’t it :-) The last 5 years has seen bands like
Amon Amarth, Enslaved, Satyricon and Opeth play across different cities here, with loads of other big
bands (like Nile and Deeds Of Flesh) expressing interest to play in India, so that’s a positive sign. India
typically sees only one or maybe two major shows in the whole year, so when that happens, it’s a huge
open air shows with crowds in excess of 15,000 people! Iron Maiden’s first gig had in excess of 30,000
people, which is huge in any part of the world. No one knows if the band is ever going to come back
here again, so the first time they come, everyone from across the country get there. And India is a big
country, most people end up travelling more than 500 miles just for that one show!

TBM: Last question, Roadcrew has thus focused on death metal et al, will this continue for the future
or will Roadcrew be expanding its reach?
ROADCREW RECORDS: Definitely expanding its reach to the farthest frontiers of space where
sound and sense unite and explode with a bang! RCR has always been about good music and if I find a
ska or be-bop band that blows me outta my mind, I’ll sign them up and promote them. No doubt about
that. Rat King, the first band I signed on has no traditional death metal in it. But when Murari gave me
the Plague Of Hamelin demo CD in Oct 2008, I knew that I had to sign these guys up and I had to
promote them. If any other band can do that to me, they deserve to be on RCR.

Thanks a lot and cheers!

Sigillum S - Wroclaw 071111 REVIEW
Sigillum S - Wroclaw 071111
Recorded live at the VI Industrial Festival Wroclaw, Poland
November 11th, 2007. Released near the end of 2009, my first
exposure to this release did not come till January of 2010.

The first track "Restrain And Discover Gist Engagement" begins with
a krautrock feel. Almost reminiscent of early Amon Düül, before
breaking into an organized chaos held together by glitch layered
lumbering beat that delightfully runs the remainder of the track.
"Spectacular Geological Fault Line" features a pulsing rhythm,
distorted guitars, and floating feedback. Wonderful sounds float in
stereophonic splendor as the listener delves deeper into the track
before dropping off into the chaos of " Plan To Breed And
Domesticate", a chaotic orchestra of noise and analog swirls. The best
part of "Plan To Breed And Domesticate" comes near the end when
the whole thing delves into a sci-fi feel before tapering off into
oblivion.
The CD quiets down a bit with "Disasters Are The Aftermath Of God's Fury", a mostly atmospheric
track, featuring acoustic guitars and sax and slowly building to a rhythmic ending, "Disasters..." is
anything but, it's a beautiful piece that is perhaps the best track on the CD. It followed by more chaos
with "Invasion Of Earth By A Malevolent Horde" and "Recovery Of The Irrevocable Star". "Invasion
Of Earth By A Malevolent Horde" is a trip to hell. Very similar to early Sigillum S in style. Groans
and static grow until one feels they can take no more... then they subside into the darkness where
"Recovery Of The Irrevocable Star" picks up.

"Here Not" begins in a rather traditional ambient manner but slowly builds to tribal drums, and
eventually headphone testing noises... All the while unearthly groans (no human, perhaps produced by
a violin?) swell through out giving this piece the feeling of traveling through Dante's Inferno.

Things pick up for the last two tracks. "Gnostic Circles" has an almost chaotic funky feel to it, before
delving into chaos and "Persian Axiomatic" has a middle eastern flavor promised in it's title but
eventually succumbs to it's industrial roots.

Wroclaw 071111 was released on Verba Corrige and can be ordered directly from the band at
http://www.sigillum-s.com/Sigillum_S/store.html
Critical Theatre - Nine Tenths Of The Law - REVIEW
Critical Theatre - Nine Tenths Of The Law
Critical Theatre resides from the northern regions of the United
States and is basically a two person band... Maxwell, Feral Farie
Samantha. That's not to say your average Critical Theatre
relegates their selves to just these two constant members. Each
release often features collaborators, and with their 4th full length
release in 3 year (there is also a split release out there), there is
collaborations a-plenty.

As a whole the release could be classified as a cross between dark

ambient with a touch of drone. But the layers of musick and
sound is much more complex than those to genre's would imply.

The first track is titled "Sacrificial King" features guest guitarist

Ade, from the band MUTATE (from the UK). The track is hypnotic. In fact, the pulse of the track
nearly matched my resting breathing perfectly. A slow, repeating refrain is overlayed y Ade's guitar
feedback... making a peacefull feeling to the dark soundscape.

The second track is less peaceful. "The Burning Ritual" features a strong guitar influence... which
swells and whines over distored whirls and quiet explosions(really, that's what it sounds like). It's a
powerful track which lists Markus Wolff (Crash Worship/Waldteufel) on vocals. Truthfully though, I
could not identify the vocal parts, so I am left curious as to which of the sounds was Wolff's voice. That
being, "The Burning Ritual" is possibly my favorite on the release.

"Yoni Verse" follows "The Burning Ritual" and is perhaps the simplest of the tracks on the release. Very
drone-esq in low rumbling loop of possible feedback. Clocking in at a little over 10 minutes, "Yoni
Verse" may lull you into a relaxing state with its faint echos of cavernous sound slowly build through
the track. But don't relax. The next track "Feed High" screams into your brain... awakening you to
shrill, unidentifiable sounds.

The mayhem continues with "El Diablo De Arranco Le Lenga", possibly my second favorite track on
the release The main sound is distortion, with something close to a melody barley breaking through the
background.

The final two tracks continue the decent into the darkest regions of your soul with the sonic screams of
the 6th and untitled track and then into a rather NON feeling closing with "The 7th Level".

Critical Theatre has yet to put out a sub par release yet, and with "Nine Tenths Of The Law" they have
honed their craft even further. Highly recommend. Get yours while they last (there was only 50 copies
pressed).
Critical Theatre Discography
The Last Crisis Of Pleasure (2007)
Flower Spreader (2008)
Wyrd-War (2008)
Critical Theatre/Rei Rea Split Release (2008)
Nine Tenths Of The Law (2009)
 Plugin To The kkaotikk source Kore
By ccernn (kkoagulaa)

I can’t do those thought-inspiring posts, not with prose, or lyrics. (which is pretty obvious when
reading my petty blogging efforts) i can only express myself in audio, in code, binary zeroes and ones,
waveforms, abstract concepts and ideas…
so, the last year or so, i have been obsessed with coding (c++), started an(other) opensource project:
axonlib. but now it’s time to merge all that with ‘proper’ musical/artistic projects. (especially
kkoagulaa)

We have a ton of self-produced audio effects/software available now, and there’s a lot more coming.
software made for our own use, for our own ways of working, we don’t need to adapt to some other
genreric/a4 methodologies, we can be our own tool-makers. software inspiring our art, and our art
(re-)inspiring the software…

Megalomanic dreams, grandiose thoughts, other-worldly ideas.

In repetitive cycles.

Fortunately, inspiration has never been a problem for us, we have almost too much of that, we just need
to filter out the realistic ones, the ideas that can possibly be made into ‘real life’.

If you (for any reason) are interested in following a more technological side of kkoagulaa, have a peek
at axonlib (source code) or ccernn.audio (software, the binaries, plugins, etc, linux/windows). things
are updated regularly…

And finally, if you have any ideas for a plugin or other software, or anything else, we could try making
it happen! don’t be afraid to get involved! don’t hold back, follow your inner voices. (that’s what we
do) we would like to see the kkoagulaa “kkollektivee” grow! happily lose some control. So that things
feel exciting and fresh again!
 The Game of Life

Continuing on the lines of the sporadic, impulsive, glimpses into the more
technical and abstract side of the many-faceted kkoagulaa ‘kkollektivee’.

let’s continue with the ‘game of life‘

from wikipedia: “…in the 1970s a two-state, two-dimensional cellular

automaton named game of life became very widely known, particularly among
the early computing community … despite its simplicity, the system achieves
an impressive diversity of behavior, fluctuating between apparent randomness
and order. one of the most apparent features of the game of life is the frequent
occurrence of gliders, arrangements of cells that essentially move themselves
across the grid. it is possible to arrange the automaton so that the gliders interact to perform
computations, and after much effort it has been shown that the game of life can emulate a universal
turing machine…”
reality-simulator?

A few math formulas, some brain melting, and a computer. now we just need to find a way to combine
this with the other material. imagine a reatime, interactive version of this, with audio and visuals
floating around, shapes morphing into each other, things always changing. … .. .

[screenshot from kkTracer v0.0.1-alpha]

-ccernn
Also, there’s too little chaos and confusion on the world, so i gladly contribute what i can to that! and,
btw, ‘i’ might mean ‘we’, and ‘we’ could mean ‘i’...

Kkoagulaa is the multimedia, multidimensional project formed by ccernn after his departure from Cult
band Manes... their debut full length, titled Aurum Nostrum Non Est Aurum Vulgi, marks a new era of
an exponential growth of creativity for the artists involved. The inception of kkoagulaa continues and
furthers the pushing of boundaries that charaterized the black metal/avant-garde careers of its core
members, kkoagulaa's art is a kaleidoscopic vortex of dark and light, brilliant, psychedelic colour
contrasting haunting, evocative monochrome
kkoagulaa is more than a band. It is a collective that includes;
• ccernn (Tor-Helge Skei a.k.a. Cernunus) (Manes, Atrox (Nor), Suffocation (Nor), Perifa)
• eemersonn (P. Emerson Williams) (Choronzon (US), Veil Of Thorns, beyond Flesh,
subQtaneous)
• vvindd (Eivind Fjoseide) (Manes, Atrox (Nor))
• hatlen (Tommy Sebastian Halseth) (Manes, Griffin (Nor), Atrox (Nor), Godsend (Nor),
Wåttamezz)
• hoemsnes (Rune Hoemsnes) (Manes, The 3rd and the Mortal)
• trstn (Torstein Parelius) (Manes, Chton)
Drawing idea's from various realms, they do - among other things - record music. In fact, they recently
signed to Aural Music. Their first CD (as well as digital companion) will be available March 12th.

For more information go to

http://www.myspace.com/kkoagulaa
or
http://kkoagulaa.wordpress.com
INNER-X-MUSICK continues to expand. It's hard to believe that the "doors" were just opened less
than one year ago! (May of 09 to be exact). 2010 promises to be a busy year for INNER-X-MUSICK
and all artists involved with the XXX label. The following is a brief progress report and update on
INNER-X-MUSICK activities.
***************************
SLEEPCHAMBER has entered into a CD deal with Old Europa Cafe. This year promises not only
the release of "2012" on OEC, but also the reissue of older SLEEPCHAMBER material as well. Also
this year will see the reissue of "SATANIC SANCTION" on the label Klanggallerie. In the meantime
you can expect a new CD of SLEEPCHAMBER live in studio called "STRATOCAST". Featuring
several new tracks, as well as tracks from "2012" and "STOLEN SLEEP", and "SIAMESE
SUCCUBI". Also, the band is hard at work on new material.... even some more possible
collaborations with other Inner-X-Musick artists. (check out "Spy Vs Spy" on "2012" which features
P. Emerson Williams from Veil Of Thorns on Cello). Perhaps the most interesting news is the possible
show at the Poland Worclaw Festival. Perpetration's are being made, the band is rehearsing, get your
house in order....
***************************
VEIL OF THORNS has released it's second CD on Inner-X-Musick with "NECROFUTURIST". If
you are familiar with VEIL OF THORNS this release may catch you off guard. It is, as I like to call it,
“Neo Gothick“, although truthfully – VEIL OF THORNS has started their own genre with this
recording, and one could easily call it “retro futurist“. VEIL OF THORNS sound has always been
unique, but certainly Gothic. Williams abilities as a musician has always set VEIL OF THORNS apart
from your standard “goth rocker“, but through the new millennium Williams has also become a master
of the process as well. It has paid off. “NECROFUTURIST” was methodically prepared for and then
assembled. Each piece of the puzzle placed with veteran precision..
Approaching the twenty year mark in their career, VEIL OF THORNS continue to build on an ever
expanding palette with their most varied release to date. From the stripped down, back to the guitar
driven psychedelic heaviness of old the last release, the band return to to the organic shifting
soundscape melding shades of electronic, classical, hiphop with a darker than ever gothic sensibility.
***************************
BATCHEEBA continues to work on her release (due out SOMETIME in 2010) In the meantime she
has done some work with John Zewizz with a collaboration that may end up on an upcoming
SLEEPCHAMBER release.....
***************************
A second all new compilation release will be issued by Inner-X-Musick in the near future. The title of
this release has yet to be determined, but the theme has been set..."Magick And Divination". Keep your
fingers crossed and hopefully there will be tracks from SLEEPCHAMBER, Sigillum S, Phallus Dei,
Veil Of Thorns, Batcheeba, Amodali, and others.
***************************
Keep checking SLEEPCHAMBER.info or www.innerxmusick.com for more information