Eliphas And The Magick Soundshots ‎– The Spell

Industrial Ölocaust Recordings ‎– IÖR TK.III
Cassette, Limited Edition, Numbered, C50


A1 The Spell 24:11
B1 Pias Ov Pleasure 3:58
B2 The Priapus Spell 3:35
B3 Erothomechanics 2:59
B4 The Set 3:21
B5 Thee Beastscanner I 1:46
B6 He Goat Priapism 2:36
B7 Thee Beastscanner II 1:48
B8 Khu 5:04



Limited to 93 copies (23 numbered copies+book, 47 numbered copies and 23 not numbered copies).

Twenty-three numbered copies of the tape were accompanied with the monograph "ARH +" by HR Giger (Taschen, First Edition 1992, ISBN-10: 3-89450-186-3). Having the I.Ö.R. not required any formal permission for the reproduction in part of "Spell II" (1973, Work no. 238) on the cover of the tape, has decided to purchase copies of the book and offers the same to purchasers of the tape.

Twenty-three not numbered copies were transferred in different ways to cultural entities.


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May 21, 2012
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.

Originally reviewed for Soft Watch.