Hauntology

[Rubin Farr]

On 7/12/2022 at 2:57 PM, Nebraska said:

i'm enjoying this new release from drew mulholland

 

https://ihrtn.net/review-drew-mulholland-my-life-with-the-imber-goat-cult-1911-1913/

[Rubin Farr]

 

[Rubin Farr]

[Rubin Farr]

[prdctvsm]

 ojeras de damita 

 Aura en el espejo 

[Psychotronic]

Interesting bit i found on reddit wrapping my head around the terms.

Quote

If I may nitpick, and I'm just saying that because I find it interesting, and that's rather against Derrida, Marx in German writes "Ein Gespenst geht um in Europa", where "umgehen" is translated to "haunt" in English and "hanter" in French. Umgehen doesn't imply all the thigns haunting implies. So, in a sense, Marx didn't write about haunting, it's the translation that does. The German word would be "heimsuchen", which does not appear in the Manifesto. 

 

I'm really only saying that because I found that interesting!

 

[Rubin Farr]

[Rubin Farr]

[Rubin Farr]

[Nebraska]

also available in jim jupp's interpretation: https://www.ghostbox.co.uk/news/ouroborindra-re-issue

[Rubin Farr]

[Rubin Farr]

[Rubin Farr]

the way the vocals come in is fucking crazy

[J3FF3R00]

On 3/10/2020 at 8:36 AM, Rubin Farr said:

Archival release of 80s era ritual industrial music:

https://infinitefog.bandcamp.com/album/zero-kama

 I’ve found myself deep in the rabbit hole of this release and the legend behind it and the original Zero Kama “The Secret Eye of L.A.Y.L.A.H.” recordings. The story is so bizarre: performing all of the music using instruments made from human remains/etc

Quote

“

Soon after the release of the Coil tape I started to work on my own project as I wanted to record an album by Zero Kama. The first inspiration to this project came through a track on the bonus LP of the first Psychic TV album Force the Hand of Chance. Its first edition was supplemented by a bonus LP called Psychic TV Themes, which was designed as ritual music for magical workings. On it there was a track entitled 23 Tibetan Human Tigh Bones , which was recorded with the traditional Tibetan bone instruments that were said to be made from monks, virgins or executed criminals. Based on this track I had the idea not only to make music with human tigh bones, but to furnish a variety of instruments from human bones and skulls and to make music with it. After having been told by a friend about an beautiful gothic, yet unlocked charnel house within the cemetery of a small village in Lower Austria, I went there on a sunny spring day, took what I needed and came back in the evening with two large travel bags containing nine skulls and a great number of other bones. It was a very strange feeling to share my flat from now on with the remains

of dozens of deceased human beings, and quite often I had the impression, that they were not simply dead matter but still had somehow parts of their respective souls attached to them. I should add that these bones did not look like the prepared and bleached bones and skulls that we know from anatomical collections, but were often dark, brown or green spotted, and some of the skulls had still remains of hair on their surface. Moreover, when I started to saw them up I had to realize that this produced a very ugly smell which was really hard to bear. At this point I also realized that I had transgressed fundamental limits, not only of good taste, but also of what humans in general regard as ethically acceptable. Yet I was at a point of no return and so started to build my instruments: By sawing off the hip joints and drilling the knee joints of thigh bones I made trumpets following the Tibetan example. From skulls the caps were sawn off and by covering them with sheep skin I got my first skull drums. From a shank bone I made a flute and by adding the mouthpiece of an oboe to a thigh bone combined with an ell I made further wind instruments. By filling the left over skullcaps with finger bones I got rattles, and a bone with scores served as a kind of guiro. Finally by fixing a row of thigh bones of different length on a wooden box I created a simple xylophone. Some of the instruments were decorated with serpents skin and metal, others painted, but most of them were left blank as they were.
When the building of the instruments was finished, also the spooky atmosphere in my flat had disappeared, so as if it had been banned by the working process and transformed into something new. So I could start to record with my bizarre instruments the first simple audio tracks, which went quite well so far. As recording devices I had a 4-track cassette recorder and mixing desk, as well as a revox tape machine, which enabled me to play loops and create analogue echo effects. By using the different speed settings I also could play some recorded tracks in half speed which sometimes gave the dry bone sounds a deeper resonance. For the required rhythm tracks in most cases two or three cycles were enough to create a loop. In general the instruments worked quite well, at least as far as I needed it to make some primitive music. Moreover some of the tracks sounded very similar to the music I was inspired by, be it Tibetan ritual music or Arabic beduin music, as for example the famous Pipes of Pan at Joujuka, that was produced by Brian Jones in 1968. The whole recording took place in the living room of my small flat in the 9th district of Vienna, which you can see here. In less than three weeks I had enough material for my planned album, which I published in September 1984 as the fifth cassette release on Nekrophile Rekords under the title “The Secret Eye of L.A.Y.L.A.H..”
 

Notes taken from insert:
"All instruments to be heard on this album were exclusively made from human bones and skulls by the hand of Zero Kama. They never have been used since the time of its recording, which took place at the Secret Temple of Laylah from 5th to 28th of May 1984 e.v. Remixed at Psychonaut Studio Vienna in November 1987 e.v., and dedicated to the symbol of Laylah, meaning night and death, as well as to its numerical equivalent, Oz, a goat or unrestrained sexual force of creation, thus showing the identity of the basic two opposite forces in this generous universe of beauty and strength, in which the Lovers my find ecstasy in Pan. Who wishes to enter this world of darkness, in which the Great Goat dwelleth, may pass through the sigil of Oz given at the front of this Cover."

Gear list:

I find myself half appalled and half morbidly fascinated, although slightly more appalled. The connection to #coil is also one that coil fans may or may not know, as the record label released some of coils earliest recordings. 
 

Edited May 17, 2023 by J3FF3R00

[Rubin Farr]

[Nebraska]

 

[Rubin Farr]

[Rubin Farr]

Catology

https://paaja.bandcamp.com/album/unearthly-gasp-i

Unearthly Gasp is a Vampyric Dungeon Synth / Cat Synth project based on the life and times of my recently deceased cat: Kittu. The project focuses on her royal lineage, noble lifestyle, and the undeniable charm and sway she had over the catfolk of the area and over us puny mortals alike. 
 

[Rubin Farr]

[Rubin Farr]

[Rubin Farr]

https://ayearinthecountry.co.uk/?fbclid=PAAaaYn1ItcwP8TYWVVKtK17tIudcRmvAuaPx6MGAFjE_SO3mVqqUPO30OCGk

[Nebraska]

this was surprisingly hauntology AF and based off this children's book although you could "see" the producers hand in everything trying to tone down the spooky factor

Edited July 10, 2023 by Nebraska

[Rubin Farr]

2 hours ago, Nebraska said:

this was surprisingly hauntology AF and based off this children's book although you could "see" the producers hand in everything trying to tone down the spooky factor

They could put all of those obscure Dark Disney films on the streaming service, shame they don’t. These are MIA as well:

 

[Nebraska]

52 minutes ago, Rubin Farr said:

They could put all of those obscure Dark Disney films on the streaming service, shame they don’t. These are MIA as well:

it's actually keeping in line with hauntology to not re-release them, but only leave us memories of how amazing they were. these are like "the unreleased" tapes from the disney vault

Edited July 10, 2023 by Nebraska

[Rubin Farr]