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Phantasmelodia: The Orphic Music Book among the pages of which lies a collection of sublime songs that titillate the soul, ignite the dreams, trigger the imagination and embrace the emotions.

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Dirty Little Secrets - My Life With the Thrill Kill Kult
Dirty Little Secrets by My Life With the Thrill Kill Kult

Cigarette smoke swirls in the air and scatters under the dim light. The spell of the night is being woven as the music starts. Flesh begins to undulate to satisfy the hunger of man. Whispery vocals entwine a seductive bass walk, audacious beats, aphrodisiac saxophones and enticing key strokes. American industrial band My Life With the Thrill Kill Kult (abbreviated as TKK) tells the "you can look but you can't touch" story that starts as the sun sets with their hypnotic Wasted Time. It is a sneaky track that tickles deep down inside and awakens the hidden devils.


Chicago based musician and vocalist Frank Nardiello (aka Groovie Mann) came back from England (where he performed vocals for a goth band named Drowning Craze that recorded for 4AD. One of his band mates was Cocteau Twins' bass player Simon Raymonde) to team up with his friend Marston Daley (aka Buzz McCoy). They started shooting an autobiographical art movie named Hammerhead Housewife and the Thrill Kill Kult which would later become the inspiration behind TKK's name. Although they never completed the movie, they wrote and recorded songs for it regardless. These recordings caught the attention of new wave/industrial record label Wax Trax! and were released as an EP in 1987. Hence began the legacy of My Life With the Thrill Kill Kult which sure is among the most controversial bands in history with their cult songs. TKK's music that is based on predominant beats ranged from industrial to electronic, from disco to pop and rock throughout their discography. They stood out with their eclectic style together with their lyrics that depended on samples from B-movies. Throughout the 80s, they were considered as the pioneers of industrial music alongside others such as Ministry, KMFDM and Front 242.


The beginnings of the band were highly occult both lyrics-wise and as far as the artwork they used went. Their debut I See Good Spirits and I See Bad Spirits and second album Kooler than Jesus included supernatural elements, unconventional imagery and openly discussed taboo concepts like sex and drugs. This made the band an instant favorite of college radios and the nightmare of the "perfect parent". Titles such as "Universal Blackness", "Gateway to Hell", "Kooler than Jesus" and "Devil Does Drugs" were enough to stir the still waters and shunned by religious groups that labeled them as satanic (which was far beyond truth as one can imagine. Although they used paranormal and esoteric concepts in their music, TKK hardly ever promoted demonic worship of any kind).

Then came Confessions of a Knife in 1990, followed by their breakthrough album Sexplosion! which turned out to become the label's most selling album in its history and featured the alternative hit, "Sex on Wheelz". Having broken a leg with Sexplosion!, TKK moved on to a bigger label and released Above the Night & Hit on Holiday. They made 4 more studio albums (along with various compilations such as Dirty Little Secrets) until their last album The Filthiest Show in Town which came out in 2007.

TKK is also an avid soundtrack contributor, thus, one probably have been exposed to their music at some point or another without even knowing. Some of their tracks are featured in movies and TV series such as Cool World, The Crow, The Flintstones, BASEketball, Beavis and Butthead, CSI NY and Basic Instinct director Paul Verhoeven's box-office-disaster-turned-cu lt movie Showgirls.

Wasted Time is, most suitably, featured in this last film and sets its main idea as soon as the first lyrics are heard,

"She's gotta work it for the pleasure of the people"

The titillating aura of the song keeps building as it takes the listener to the intimate corners of the "dreamer's" mind (in this case, those who watch the stripper) and creating a notorious urge to waggle the feet if not directly sway with the idle tempo. The dancer casts her spell and exploits the fantasies of her audience just like a Femme Fatale or like a black widow feeding on her prey. The lyrics warn,

"Watch out:
You're just wasting your time
With her"


However, the hypnotized crowd has already forgotten time and space in her and she makes them skillfully loose their sense of time and space some more as she becomes one with the music, becomes one with each and every one and transforms into the only thing they want and need until the fade out.

Just before they could collect themselves, another song begins, another spell is cast... And this nocturnal tale reiterates until the first ray of the sun appears in the east....

...and until it begins again the following night.


Ink Blots

Browse music online at IMEEM

Buy Dirty Little Secrets from Amazon

Meet the artist My Life with the Thrill Kill Kult at Really Long Link

Read the entire lyrics at Non Album Tracks -- A part of Kooler than Ascii
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Saturnine - The Gathering

July 5th 2008 19:47
if_then_else - The Gathering
if_then_else by The Gathering

Atmospheric strings, rebellious guitars, piercing lyrics, dramatic vocals, a mourning cello, an eerie synth and bleeding piano await the listener in Dutch alternative rock band The Gathering's highly penetrating piece Saturnine. The song is an uprising and submission, an appeal and an oath all combined in one -- Just like the mood swings of being left behind in love entail.

The day Anneke van Giersbergen joined The Gathering was a milestone for the entire band. Hans and Rene Rutten formed the group back in 1989 and they hit the stores with their gothic/doom, debut album Always... in 1992. Their vocalists Bart and Marike parted ways with them due to musical discrepancies after the release. They were replaced by singer/guitarist/composer Niels Duffhuës and Martine van Loon only to realize that their voices did not match the band's music which had always been highly experimental. During the auditions in 1994, there came a young woman with a glittering smile and a voice as light as a feather. She was not only going to be the front lady of The Gathering for the next 13 years but also propel the fame and success of a moderate European doth/goom band. Van Giersbergen did not restrict herself within the borders of heavy metal and her personal interest in the alternative genre as well as bands like Radiohead was a perfect fit for the experimental nature of The Gathering.

Their next albums Mandylion and Nighttime Birds solidified their fan base while enabling them to play in front of various audiences throughout Europe. Then came an unexpected twist from the band which greatly surprised both the fans and the critics. They released How to Measure a Planet?, an album that carried heavy shoegazing and dream pop influence which caused second guitarist Jelmer Wiersma to leave the group. This startling direction was repelled by some fans yet gained the interest of many others.

Soon, they launched their own label and if_then_else came out in 2000. From then on, The Gathering kept excelling themselves artistically. Taking their name from the first Highlander movie where "the gathering of the Immortals for a final confrontation" is one of the central themes, the band has expressed their music on a wide scale combining elements of heavy metal, progressive rock, trip hop and dream pop. In 2007, Anneke van Giersbergen announced through her MySpace blog that it was time for her "to listen to her heart" and move on to other projects. Expressing deep sorrow and gratitude, she left The Gathering and formed a new band Agua de Annique. She has recently been touring Netherlands with her new band.

Saturnine begins with tenebrous beats, ascending from the depths of deep, dark, trip hop ambiance and relying considerably on synths. The lyrics find a lonesome woman whose rightful resentment wither in the cold, harsh absence of her lover,

"All the stuff you left me with
Is way too much to handle
But i guess you don't care"


Although the song begins in a relatively mild tone, it sure is the eye of the storm since there is a building tension underneath which bursts both melodically and lyrics-wise into,

"You don't need to preach
You don't have to love me, all the time"

This dramatic refrain is the highlight and the most touching part of the song with its intractable yearn for the presence of the lover even if that means to be alone in a relationship, living a love unrequited. Throwing off the ego away, abandoning any emotional need for that of the loved one is the greatest sacrifice one can make for another. Unfortunately, this kind of renouncement is rarely reciprocal and such feelings develop only throughout a break up or during moments of remorse after loosing someone who deserved much more. Still, while they last, the feelings and the overwhelming pain is as genuine as it can get.

"While whispering those words
I cried like a baby
Hoping you would care"


Saturnine is made up of four parts, each part depicting a different emotional state. The first part is the opening described above with its heavy indignation while the second part starts as the refrain is heard for the first time alongside heavy guitars, defiant drums and grave strings. This is where the pain turns into a revolt, where the craving for the beloved is unbearable and intoxicating. The third part follows this blow-up and is marked by a panting piano and grieving cello. Calmed down yet broken inside out, lyrics flow quietly as if one is mumbling to themselves,

"You don't need... all the time...
You don't need.."


Finally the refrain is heard again in a final explosion, illustrating a shouting sorrow and screaming teardrops both of which are in vain because they end up being unheard. After this last cry, the strings slowly take the reigns and carry the track to an unforgettable end while the woman is left falling back into the silent pit of her sorrow.

Saturnine is one of those rare songs that can vividly picture various levels of pain not only through a unique composition but also matching, striking lyrics. Briefly, it is the melodic form of falling apart in saying

"I guess you don't need me"



Ink Blots

Browse music online at IMEEM

Buy if_then_else online from Amazon

Meet the artist The Gathering at theGathering

Read the entire lyrics at ST Lyrics
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Coda & Roger and Me - Matt Uelmen

July 4th 2008 17:10
Diablo II Soundtrack - Matt Uelmen
Diablo II Soundtrack by Matt Uelmen

The legacy of Blizzard's everlasting game, Diablo, continues in Phantasmelodia with Coda and Roger and Me, two mellifluous tracks by Matt Uelmen that mark the end of Diablo II Soundtrack. This time the epic oboe tells the story of the victory of mankind while grieving flutes that open the song sing an elegy for a fallen hero whose heart was once young and pure.

However, traveling to the rotten depths of hell, being exposed to countless abominations whose plain sights corrupt human psyche no matter how courageous one might be and finally facing one of the prime evils of Underworld, Lord of Terror himself, had its grave consequences. The unnamed hero undertook a most blasphemous burden that would leave profane footprints behind as he/she traveled through water and sand. In order to hinder the evil from further corrupting the mortal planes, the hero contained the crimson soulstone (wherein the essence of Diablo was imprisoned initially) by carving the stone in his/her very flesh (forehead to be specific). By doing that, he/she presumed that he/she could control this demonic power from being released again.

Alas, the intent was genuine and clean! However, how can timeless evil be suppressed by a passing, ephemeral being whose lifespan resembles a grain of sand in a vast desert? The nameless hero thought that defeat meant being greater.

Not necessarily. Not necessarily, at all.

Many a times, success is a cul-de-sac with its intoxicating emotions of grandeur. It is through this deadfall, the heart, blinded by victory, is crushed under the weight of reality. By no means, the triumph should be underestimated. However, when overestimated, it is as deadly as the black widow. It spins its web around the ego of man and strikes when least expected. Ah, such an ironic sight it is, when one who had everything once is reduced to nothing. Unfortunately, that ironic sight is the very reason behind the fall of many kingdoms and empires throughout history...

...And history is a crude master, indeed. if you do not learn its lesson, it repeats itself in a vicious cycle, in the most deceptive, devious ways that one does not understand why such misfortunes keep finding them. History does not care about victims. It gives every victim a chance to be a hero of their own story. It is the victim in his victimized state of mind who cannot see that chance and repeatedly makes the same mistakes.

The unnamed hero had no intention of being a victim, yet, in a moment of fleeting superiority, he/she believed he/she could hold great ancient power within and in the end, paid a great price by falling prey to the demon he/she once defeated.

It is befitting to quickly tell the story of Diablo to those who meet him for the first time. Diablo, alongside his brothers Baal and Mephisto, is one of the Prime Evils that reigned the Hell until he was overthrown by the Lesser Evils. He and his brothers were banished to the mortal planes which caused a divine war between Heaven and Hell. The Horadrim, mortal magi forces of Heaven, captured the overthrown Prime Evils and imprisoned their essences into what they called as soulstones. One of these soulstones, which carried Diablo's essence, was hidden deep amongst the caverns under a cathedral. In the outskirts of this cathedral lied the little village of Tristram where centuries of generations passed oblivious to what lied beneath. Until there came a time when the power of the soulstone began to wane and Diablo's consciousness awakened. He reached out to find himself a puppet and in the corrupted mind of Archbishop Lazarus, he found himself a new toy.

Lazarus, whose strings were pulled by the Lord of Terror, kidnapped King Leoric' son, infant Prince Albrecht, to be used as a vessel for Diablo. This is when the good-hearted king lost his grip of reality and became prone to Lazarus' manipulation. The Archbishop first accused a nearby, greater kingdom of the kidnapping of little Prince and caused his King to send all his mighty warriors in a war that was destined to be lost. The remaining knights were led into the depths of the cathedral by Lazarus himself to (supposedly) rescue the Prince yet only a few managed to return to tell the unspeakable horrors they had to face. The terror Diablo caused in the heart of the boy caused the veil between the mortal and immortal realms to be torn apart hence, demons leaked into the world of Sanctuary to do Diablo's bidding. This is right where the original story begins with the unnamed hero returning to his/her hometown, Tristram, to find it overrun by sorrow and death.

Matt Uelmen continues to create a dramatic and alluring atmosphere with his music for Diablo II. This time, he is casting his hands on fully orchestral realms in order to pull the gamer deeper into the world of Sanctuary. Slovakian Radio Symphony Orchestra helps Uelmen melodify and enable his vision come alive in this sequel.

Many songs presented throughout the game are unique but there come moments when nostalgia strikes since Uelmen strategically reprises his unforgettable songs from original Diablo in his new compositions. Sisters and Wilderness are two songs that pay a modest homage to Town (Tristram Village) while Spider harbors snippets from Dungeon (The music played during the first 4 levels of Tristram's desecrated cathedral). Town can be listened in its original form when the hero from Diablo II revisits Tristram to rescue Cain the Elder. This mission is not only a sentimental return to the setting of original Diablo but also features cameos from what is left of characters such as Griswold and Wirt.

Alongside the above, there sure are other songs that carry the traces of Diablo's original score. However, they shall be left for the listener to discover.

Coda and Roger and Me are the last two songs from Diablo II Soundtrack. They adorn the very end of the game/soundtrack. Although they are two separate tracks, I combined them in one due to their complementary structure and one's merging into the other. The divine dance of soothing flutes, bardic 12-string guitar and mystic oboe is unmatched in form and style while the song reaches its finale with an excerpt from Town (Tristram Village), thus completing a cycle by returning to the very beginning of Diablo saga.


Ink Blots

Also related: Town (Tristram Village) - Matt Uelmen

Browse music online at IMEEM

Buy Diablo II Soundtrack online from Amazon

Meet the artist Matt Uelmen at Wikipedia
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Diablo Original Game Score - Matt Uelmen
Diablo Original Game Score by Matt Uelmen

The harmonious embrace of 12-string guitar and flute create a breathtaking, medieval aura which emits the colors of a most unforgettable tale about an old village named Tristram and the desecrated church within the nearby graveyard that spawns terror after terror upon its people. American musician Matt Uelmen captures the essence of this village and the sorrow it harbors beneath fear with his Town (also known as Tristram Village) and manages to climb and conquer the most arduous of musical peaks, ie. making a melody the trademark of a story.

[ Click here to read more ]
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What Else Is There - Röyksopp

June 28th 2008 08:49
The Understanding - Royksopp
The Understanding by Röyksopp

Interplanetary electronica, music that falls from outer space into wistful lyrics, a song that harbors a storm so artistically that the listeners might easily find themselves trying to find shelter from a tempest made of chaotic feelings.. These can be scattered poetic statements that might endeavor to describe Norwegian electronica duo Röyksopp's What Else Is There yet still fail to paint a picture. The song is that enthralling with frequent doses of underlying eeriness.

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Everything is Never Quite Enough - Wasis Diop
Everything Is Never Quite Enough by Wasis Diop


The sultry waves of Africa fuse into a western breeze to give birth to one of the most eclectic downtempo tracks ever born. Guitar, silky vocals and sensual percussions dance in utmost harmony for Senegalise guitarist / musician Wasis Diop's Everything is Never Quite Enough and take the listener to the heart of a continent where man and nature have learned to co-exist without yielding to each other


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Into Dust - Ashtar Command

June 19th 2008 23:21
The O.C. Mix 6: Covering Our Tracks - Various Artists
The O.C. Mix 6: Covering Our Tracks by Various Artists

Base a song upon a mesmerizing guitar riff played as softly as possible and you are on your way to a relaxing plane. If your muse is really in its element, it can convey you a melody not only calming but also somewhat hypnotic when repeated over and over again. If that is the case and you have no intention of decorating your song with heavy orchestration, just the intense plainness of your melody and you, mumbling scattered lyrics of desperation then you have a haunting song. American dream pop band Mazzy Star's Into Dust is that song. It is rare, almost astral sounding and adorned with imaginary lyrics. Just when one thinks this song can't get any better, American alternative band Ashtar Command appears and takes it to an even more starry dimension. They so elevate an already dreamy song that the song becomes the dream itself.

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Mother Earth - Within Temptation
Mother Earth by Within Temptation

Imagine a pixie dancing on the piano keys while accompanied by the lyre of a satyr and the voice of an elf in a lush green forest next to a serene lake. Add a gentle breeze that conducts a chorus of tree leaves and kisses ripples on the water and you have Dutch symphonic rock band Within Temptation's Never-Ending Story surrounding you in an invisible embrace. Amidst the song, one can find traces of Galadriel's wisdom, Arwen's love and Lúthien's timeless beauty.

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Age of Conan Hyborian Adventures Soundtrack - Knut Avenstroup Haugen
Age of Conan: Hyborian Adventures Soundtrack by Knut Avenstroup Haugen

Mythical drums roll to embrace lyrical strings and an angelic voice so as to weave an epic for the emerging heroes, the rise and fall of kingdoms and the ascension of Robert E. Howard's Hyborian Age for the XXI century common man. Composer Knut Avenstroup Haugen and Norwegian singer Helene Bøksle join forces in The Dreaming: 'Ere the World Crumbles... which is an introductory imprint in the world of soundtracks. It is one of those rare entrees that triumphantly ready the listener's ears for the breathtaking musical abode that is to come.

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Breathe Me - Sia

June 3rd 2008 18:42
Color the Small One - Sia
Color the Small One by Sia

A penetrating piano tune that finds its way into the heart as it is joined by naive lyrics and balmy strings. Australian performer and songwriter Sia's Breathe Me is a bitter confession, a humble plea and a coy disclosure of insecurity, all combined in a serene 4 and half minutes. The piano captures the soul, the lyrics kiss the heart and the subsequent strings caress the body.

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