Vasilisk ‎– Liberation And Ecstasy

Label:
Musica Maxima Magnetica ‎– eee 08
Format:
CD, Compilation, Reissue
Country:
Released:
 
Genre:
Style:

Tracklist Hide Credits

1 Thorn 3:04
2 Awakening 5:49
3 Photongnoul 3:05
4 Sacred Dance 3:59
5 The Spirit As Ancestor 7:35
6 Woza Moya ! 1:15
7 Fangs And Claws 4:05
8 Taksim 2:55
9 The Holy Mountain 5:21
10 The Core Of Africa ~ And In Dying Is All 4:07
11 Incarnation
Remix [Remixed] – Jun Konagaya
4:24
12 Acqua 7:16
13 Whirling Dervishes 21:59

Companies, etc.

Credits

  • Composed By [All Material Composed], Performer [All Material Performed]Vasilisk
  • Design [Cover & Sleeve Design]Masa (22)
  • Graphics [Visuals]Chiaki Kuwahara
  • Percussion [Percussions], Flute [African Flute], Synthesizer [Synthesizers], Voice [Voices]Tomo Kuwahara
  • Percussion [Percussions], Voice [Voices], Strings, KeyboardsYukio Nagoshi
  • Producer [Produced], Mixed By [Mix]Jun Konagaya (tracks: 3, 5 to 7, 9, 10), Luciano Dari (tracks: 1, 2, 4, 12), Vasilisk
  • Remix [Remixed]Vasilisk (tracks: 1 to 4, 10 to 12)

Notes

[Tracks 8, 11 and 13] from Whirling Dervishes 1987
[Tracks 3, 5 to 7, 9 and 10] from Mkwaju 1988
[Tracks 1, 2, 4 and 12] from Acqua 1989
Total Time 76 minutes
Made in Italy

Packaging: standard jewel case with 8-page fold-out booklet.
Released later than 1994
Indentical previous issue pressed by PhonoComp: Liberation And Ecstasy

Barcode and Other Identifiers

  • Matrix / Runout: ['DADC Austria' Logo] A0100359374-0101 15 A1
  • Mastering SID Code: IFPI L555
  • Mould SID Code: IFPI 94K1

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Reviews

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June 4, 2012
This is a wholy strange and remarkable album which flows from basic straightforward Ethnic music to Experimenta1 sounds and back again. It's an album filled to bursting with an atmosphere which can be both beautiful and dangerous.
It opens with "Thorn", a delicate piece of New Age music - gently playing guitars ripple while the deep beauty of the African Flute plays, a slow-motion haze over the top. "Awakening" comes next, an atmospheric percussion sound - slow drum rhythm while the clicking of stick against stick keeps the whole thing together. Over, or under this blows the flute and subtle synthesizers hum in a static cloud. "Photonghoul" is next, the drumming not dissimilar to THE CRAMPS' on "TV Set", while the female vocalist 'sings' in a vþice easily as rich and wonderful as Elizabeth Frazer's. "Sacred Dance" follows this, a track which flows with a sluggish-yet-hypnotic grace, chipping drums, Temple Bells and that huge, all-encompassing flute sound. "The Spirit As Ancestor", the first track so far not to be a remix creates an atmosphere of tension of threat, of impending doom, all built upon rumbling drums which seem to speak with sombre eloquence. "Woza Moya" snarls in with what sounds percussion so heavily flanged it's impossible to be certain. "Fangs And Claws" is a slow meditative piece - heavy one beat drum surrounded by what sounds like timbales or tuned bells - suddenly the calm atmosphere is broken by intruding Demon voices made partly of pain, partly of insatiable hunger - denizens of nightmares in search of victims. "Taksim" begins like some GILBERT & LEWIS factory sound before turning into an Eastern-sounding rhythmic track with a loud echoing metallic backdrop. "The Holy Mountain" sounds like LIZ FRAZIER once more visiting some Asian Temple to practice for the new album - every bit as good as anything off the COCTEAU TWINS' "Treasure" album - a very similar sound here. "The Core Of Africa and In Dying Is All" fades in on a flanging, phasing indistinct vocal loop before becoming a fast drum feast with strange background noises. "Incarnation" releases an Elemental spirit, hungry for flesh, carrion or fresh, into an isolated environment, distorted guitar plays over the simplistic distant drums. "Acqua", the title track of their 1989 album opens with running water to become a low-key, simplistic sequence which begins to open out into something more after 3½ minutes, with pattering percussion which carries it on to it's conclusion. The album closes with "Whirling Dervishes" - a quiet introduction of sustained voice sounding like didgetidoo while that indescribably wonderful flute soars and swoops overhead. It eventually gives way for a slow metal-beat, which itself eventually makes way for the throbbing drum beat we had all been expecting, over which the vocalists sing some strange primate lyrics which end as they once more escape to the trees while the music metamorphosizes through calming vocals into something much louder and more complex, which itself suddenly halts to make way for a fast sequential thing full of strange noises fading in and out, which again collapses after a couple of minutes to be superceded by yet another, this time indescribable rhythm, sustaining while temple bells play rings around it before fading into final silence. This last track itself is over 20 minutes long, and by far the most complicated.

Well, I think that about says it all. This is a really wonderful album which, while not demanding too much from the listener, still manages to keep your attention keen-honed. It's Ethnic based, but is probably as much Industrial in it's Sound. A mood album & highly recommended.

Originally reviewed for Soft Watch.