ELIPHAS AND THE MAGICK SOUNDSHOTS
Out of stock
SoftWatch – September 1, 2017
The Cover is a GIGER original, I think from the “Necronomicon”. The first side consists of one long track – a piece which grows out of the silence a subtle electronic pattern, perhaps too small, low & discrete to be described as a rhythm, it acts as a groundswell of sound, growing, growing, reaching for the light like the lowest of life forms inclining towards the sun. Yes, a form of electronic evolution is happening here, as if the background sound were a bubbling soup of DNA, forming into benign life forms. It swells & strains as if trying to break free from it’s ever changing form, yet only shape-shifts, it’s interesting sequential body ever transmuting, gaining in amplitude, fading back almost to silence.
Side two has a series of shorter pieces on it – “Pias Ov Pleasure” opening, with a distant hum & odd sequential organ sound over the top in an interesting, almost marching sound. “The Priapus Spell” uses similar minimal sounds to create another, almost Oriental rhythmic piece – both complex & simple, with short, percussive, subtle sound. “Erothomechanics” employs a much more dense & crowded series of sequences, having much the same sound, but reinterpreted into something a lot more complex. “The Set” uses a throb of noise as foundation over which it builds a rhythmic, almost swinging structure. “Thee Beastscanner I” moves in on a crunching, crushingly thick rhythmic sound, brief but interesting. “He Goat Priapism” is perhaps the most complicated piece on the entire album, turning from a quiet mute fanfare into a busy, determined marching piece, equally as mellow, yet with a sense of grim purpose. “Thee Beastscanner II” takes over where “I” left off, then dissolves into a more decayed, destroyed piece, restructuring into a different but related rhythm. “Khu” closes the album, having an almost classical sound, maybe a mellow phrase for a more laid-back GREENAWAY film soundtrack. It has a sense of drama, a darkness without particularly ‘aimed’ threat.
I’d compare it to WIM MERTENS’ “Sources Of Sleeplessness” – it has that minimal approach to instrumentation, and the leaning towards complex rhythmic composition. An album of passive sounds & interesting shapes.
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