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Anemone Tube / Post Scriptvm - Litaniæ Mortuorum Discordantes FLAC

Anemone Tube / Post Scriptvm - Litaniæ Mortuorum Discordantes FLAC
  • Performer: Anemone Tube / Post Scriptvm
  • Title: Litaniæ Mortuorum Discordantes
  • Genre: Electronic
  • Cat #: cure.11
  • Label: The Epicurean
  • Country: Germany
  • Date of release: 01 Dec 2016
  • Style: Dark Ambient, Industrial, Abstract, Experimental
  • FLAC size 2055 mb
  • MP3 size: 1441 mb
  • Record From CD, Album, Limited Edition, Numbered

Tracklist

1Anemone TubeIrruption Of The Whore
Gong – Post Scriptvm
7:37
2Post ScriptvmDark And Nameless Gods6:44
3Post ScriptvmBuried In Fabula4:40
4Anemone TubeMyth And The Relation To The World7:39
5Anemone TubeRecueillement (Sa Propre Mort)3:18
6Post ScriptvmLaterne D'Horreur7:22

Versions

CategoryArtistTitle (Format)LabelCategoryCountryYear
LER015/2016Anemone Tube / Post Scriptvm Anemone Tube / Post Scriptvm - Litaniæ Mortuorum Discordantes ‎(LP, Ltd, Gol)La EsenciaLER015/2016Spain2016
LER015/2016Anemone Tube / Post Scriptvm Anemone Tube / Post Scriptvm - Litaniæ Mortuorum Discordantes ‎(LP, Ltd, Num, S/Edition + CD)La EsenciaLER015/2016Spain2016

Credits

  • Artwork By – Post Scriptvm
  • Mastered ByHunter Barr
  • Typography, Design, Photography ByAnemone Tube

Notes

“Myth and the Relation to the World”, “Recueillement (Sa Propre Mort)”, “Irruption of the Whore composed”, recorded, edited and mixed by Anemone Tube 2013–2016, with field recordings made in Kyoto, Nanjing and Shanghai, 2007/2009 and synthesizer. Gong sounds and additional samples on “Irruption of the Whore” by Post Scriptvm, 2013. For Ola.

“Buried in Fabula”, “Dark and Nameless Gods”, “Laterne D'Horreur” composed, recorded, edited and mixed by Post Scriptvm in Trepan Studios, Brooklyn, NY, USA, 2014–2015.

Mastered by Hunter Barr, 2016.
Cover drawings by Post Scriptvm, 2016.
Typography, design & inner sleeve photo by Anemone Tube, 2016.
Photo detail of Tryptic of Saint Stanislaus the Bishop, painted and guilded limewood, Hans Süss von Kulmbach, ~1610; Gallery of Medieval Art, Warsaw.

CD comes in full color cardboard sleeve and white offset paper cardboard slipcase with golden typography, including a 4-page booklet. Limited edition of 144 copies, hand numbered.

“Gens abesque consilio est et sine prudentia / Utinam Saperent et intelligerent ac novissima providerent” quote on card board sleeve taken from Hieronymous Bosch's painting „The seven deadly sins with the four last things“.

Video

Comments: (1)
Ttyr
Press text:

Anemone Tube & Post Scriptvm “Litaniæ Mortuorum Discordantes”
– For lovers of soul-shredding funeral music built on dissonance, intended for church performance, triggering spiritual delight

Under the headline “Litaniæ Mortuorum Discordantes” Anemone Tube and Post Scriptvm present a collaborative album with a truly unique concept: Originally applied to a particular style of ancient ritual music, in the Classical era the term Litaniae Mortuorum Discordantes attained a negative connotation and was used to criticize those compositions – which, instead of instilling listeners with the desired pious euphoria, incriminated them with a sense of dread, existential anxiety, feelings of death and decay. Finding this aesthetic choice to be most appropriate for the present era, the two post-industrial projects attempted to create their own “Discordant Death Litanies” for the XXI century.

The idea is culled from a semi-fictional biography of Johann Sebastian Bach, written by a 19th century Russian author. In the chapter describing Bach‘s childhood and early education, his older brother – who was also his music teacher and mentor – dissuades him from composing those “Litaniæ Mortuorum Discordantes” as they dangerously steer the Christian liturgy into a “wrong” direction of primordial chaos. In reality Bach never dealt with such dark notions, but created the most versatile and accomplished musical glorifications of the Christian god ever composed.

Yet tempted by the imagination of real “Litaniæ Mortuorum Discordantes”, Anemone Tube and Post Scriptvm stage a linear, gradually unfolding “oratorio” which begins with layers of lush brass synths resounding a time and place enveloped in ancient mythical beauty. The pristine serenity, however, slowly deteriorates through the influx of anguish, social decay and profanity. Raw field recordings, throbbing electronics, metallic tremors, distant voices and chants portrait a life of numbness and confusion, where man – tormented by ignorance, ignoble desires and anger – has become a plaything of insane “Weltanschauungen” and the commercialization plague. In a world where spirituality is reduced to rituals of sadness, the prophetic – and confirmed – certitude that the end of civilization is close at hand prevails.
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