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Wolfheart feat. The Malavita Antisocial Club progressive-metal / Wiener Neustadt
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PRESSRELEASE WOLFBLOOD PRODUCTIONS
WOLFHEART feat. THE MALAVITA ANTISOCIAL CLUB - "Morphean Empires"
Label: Wolfblood Productions - WBP 003
Release: 20. Mai 2016
- THE GOD DELUSION
- MORPHEAN EMPIRES
- RITES OF THE APOCALYPSE
- DIE ENGELSMACHER
- SUBCONSCIOUS RUINS
- SONG FOR LARA´ANA
- PLUTONIAN DEMOCRACY
- UNSUNG HEROES
- SOULS IN THE VOID
- EUGENIC THEOCRACY
- THE LUCIFER PRINCIPLE
- ONE WORLD CONSPIRACY
- FIVE TO ONE
- PARTHENOPEAN SHORES
General:
WOLFBLOOD PRODUCTIONS is the label by Wolfgang Süssenbeck, on which the last album of the band DARKSIDE, "Inferno" and the debut of the project CITIZEN X - "Satanation"
were published. Besides this upcoming release there are still more releases planned for this year, including the debut album “The Fail Decade” of melodic thrashers ANGRY NATION, which is expected for the summer.
Releases of WOLFBLOOD PRODUCTIONS:
WBP001 DARKSIDE - Inferno (2013)
WBP002 CITIZEN X - Satanation (2014)
WBP003 WOLF HEART feat. THE MALAVITA ANTI SOCIAL CLUB - Morphean Empires (5/2016)
WBP004 ANGRY NATION - The Fail Decade (6/2016)
About the person:
Wolfgang Süssenbeck, born in 1965, can justifiably be referred as an icon of the metal scene in Wiener Neustadt. He earned his first musical spurs in the early 80s in the punk band LADEHEMMUNG, 1984 he founded his first band,
METAL DAZE. This was followed by another band from Wiener Neustadt, DECEIVER ,before he joined DISGRACE in 1988, a lineup of musicians from Wr. Neustadt and Enzesfeld / Lindabrunn, which could
easily be called a precursor to the band DARKSIDE, the actual main band of Wolfgang, in which he has been active since 1992. With DARKSIDE "Sü" has released a total of 6 albums worldwide and has done 5 European tours
(among others as support of MOONSPELL, THERION, SIX FEET UNDER, VADER, MORTICIAN, SINISTER a.m.m.) and completed more than 500 shows. Besides
DARKSIDE, Sü was also active in Vienna´s thrashers DEMOLITION , with whom he has also released two albums, and has played several European tours (among others with TESTAMENT, DEATH
ANGEL, SUSPIRIA). Countless festival appearances and single shows with bands like SLAYER, MEGADETH, ANTHRAX, AMORPHIS, MORBID ANGEL,
PAIN, ATROCITY and many more complete the picture.
WOLF HEART feat. THE MALAVITA ANTISOCIAL CLUB
Wolfgang Süssenbeck, keyboardist and mastermind of the Lower Austrian death metal veterans DARKSIDE has recorded his first "solo" album. "Sü" has participated in several projects in recent years, for exampl, together
with DARKSIDE bassist Peter Böhm he took part in the project CITIZEN X and recorded an album and several cover versions of artists such as MEGADETH, KING DIAMOND
and KRAFTWERK with guitarist Milos Dolezal under the moniker of WAVES. He also contributed some vocals for the HOLY MOSES album "Agony Of Death". He is currently working
together with his fellow musician Walter Oberhofer on the first album "The Fail Decade", which operates under the band name of ANGRY NATION. How the new album “Morphean Empires”
came together and who else is involved, can be found in the following press release:
Wolf:
The realization of some kind of "solo" album has always been one of my dreams for about 30 years, I think. Since my skills are really limited to programming in terms of songwriting, I decided to ask some musicians / friends of mine to join me in this
endeavor. The most important people in this project are Jaroslav Lukac, who has already cooperated on the last DARKSIDE album by providing some phenomenal solos and Alessandro Vagnoni who has recorded the
drums and the bass for this production, as well as the album was mixed in his PLASTER RECORDING STUDIO in Italy. Jaro wrote most of the songs for "Morphean Empires" and is also responsible for the
mastering, which has completed the sound in NEGATIVE TUNES studio in Slovakia.
Like on the last DARKSIDE album, vocals were again recorded in SHAARK STUDIO in the Czech Republic, supported by my longtime fellow musician Peter Böhm, who has provided invaluable assistance in the
arrangement of vocals. The album has a playing time of about 100 minutes, and sometimes you run out of good ideas, so I am very grateful to Peter that he has taken time to support me.
A few words about the two main musicians of MALAVITA ANTISOCIAL CLUB:
Jaroslav Lukac: (guitar)
Jaroslav Lukac is a guitarist from Slovakia, where he has his own studio, NEGATIVE TUNES, where he produces various bands, records music, mixes and also does mastering. Jaro was part of several bands such as
FAUSTINO or XXXX, before he formed his own band with RECODE THE SUBLIMINAL, a band that has recently released its debut album “The Cost Of Every Man”. Jaro was also a part of the line-up
for the last album of DARKSIDE, "Inferno", to which he has contributed most of the guitar solos.
Shortly after the recording of the lastest album of DARKSIDE Jaro asked me, if I could sing on a song that he had written for a solo project, and so "Rites Of The Apocalypse" was born. This song was added and
rearranged for "Morphean Empires", because it would have been a shame not to use it, also because it was the first song that we made together, which resulted in the end resulted in me asking him whether he would be available as main
composer for the WOLFHEART project. I am very pleased that he has agreed to do so, because with his addition we were able to greatly expand the musical spectrum of the album. Of course, his influences are very different from mine, for
example, but the resulting mix of influences and different approaches to things sounds very original. Of course, the fact that Jaro has his own studio brought in many other advantages, also with regard to the final product.
Alessandro Vagnoni: (drums, bass)
Alessandro is a very experienced drummer from Italy, where he also runs his own studio, the PLASTER RECORDING STUDIO. Alessandro is / was part of numerous bands and projects like RESURRECTURIS, DARK
LUNACY, INFERNAL POETRY, BOLOGNA VIOLENTA, TAPEWHORE and many others.
I have come to appreciate Alessandro when he stepped in as a drummer for DEMOLITION for some shows on the recommendation of our former guitarist. Later we worked together on a project called MARGINALIA, which
unfortunately never saw the light of day, before I asked Alessandro to manage the drums for the DARKSIDE album "Inferno" and finally, to mix the album. Alessandro also played some concerts together with
DARKSIDE. I am very happy that Alessandro has joined our project because certainly his experience as a musician, arranger and studio engineer has had a major impact on the development and prosperity of "Morphean Empires".
As part of the mixing and mastering process, the mutual support of the two studios has impacted very positively on the realization of the final product.
Other contributors:
Björn Goosses (Killustration.com):
Killustrations is an award winning design studio, founded by the German artist Björn Goosses and passed.
Specifically located in the field of digital image processing, Killustrations uses a variety of techniques to create unique images between playful morbidity and colorful surrealism. The interdisciplinary work of
Killustrations extends from cover art on merchandise design to corporate identity and logo design and usually uses a mixed media technique between imaging and photography.
I met Björn during a European tour with DEMOLITION in 2008 when we were supporting DEATH ANGEL. Björn accompanied the crew for some dates in Germany and the Netherlands and has impressed me from the start by his
communicative, friendly easy-going nature. After searching a fundamental alternative to the last few DARKSIDE artworks for "Morphean Empires" I asked Bjorn if he could imagine to work for this project. I only had a very
general idea for the imaginary concept for this album, so I decided to give him more or less a free hand for the draft because I think that creative people can achieve their best results only when there are no creative restrictions and conditions, that
would limit them in their work and vision.
It was a very cool thing to work with Killustrations for the artwork for "Morphean Empires". I was relatively undecided about which direction to go for in the beginning and I must admit, he really delivered a great job!
The artwork translates the main theme of the album very expressive in an inimitable way.
Joachim Luetke:
I am friends with Joachim for many years and so it was more likely that we would work together on a project someday. I had a very unusual idea of how to implement the basic tenor of the album to the bandpics and Joachim took up this idea and of course he
fulfilled my ideas much better than I could have ever imagined, through his artistic understanding. I think he just had as much fun to work on implementing the photos as we had doing them.
GUESTS:
I am really happy to be able to introduce Thomas Schmoll, a guitarist from Wiener Neustadt, who has made talk about himself as a successful DJ doing remixes and mesh-ups, but who is actually rooted in the metal scene. He has kindly
contributed the song "Plutonian Democracy" , a more classic orientated track, which craves a lot of its power thanks to its dense atmosphere and the clear, structured arrangement.
Secondly, my longtime friend and fellow musician Walter Oberhofer has agreed to track the solos of the song "One World Conspiracy" for us. Our first joint musical steps were taken already almost 30 years ago, starting
with DECEIVER in 1986 and later with DISGRACE 1988-1990. Even more , I am pleased to have included yet another old companion in one of my projects following the appearance of Otto Jezek , who was
the guitar player for METAL DAZE, on the last DARKSIDE album. Our musical collaboration will go even further in the future, more about that soon!
The name for the band is WOLFHEART FEAT. THE MALAVITA ANTISOCIAL CLUB. Why, one might ask?
MOONSPELL are an excellent band and have been friends of mine for many years, actually since we were on tour together for the first time in 1998, when I was allowed to accompany them as a member of DARKSIDE, supporting
the Portuguese wolves on their Sin / Pecado European tour together with THERION. My first name had been involved in various word games during this tour, among others in connection with their breakthrough album "Wolfheart".
Therefore, I have decided to take this nickname for myself, even as my thanks and appreciation, both for their great work and for our friendship, and finally, as a tribute to these guys!
Most of you may have heard of The Buena Vista Social Club. The Buena Vista Social Club was the name of a members club in Havana, Cuba in the 1940s, and a band of the 1990s, an album, a film that would revive all the musical spirit of the
original Havana Club again, that now is already closed for decades. The original Buena Vista Social Club for dancing and musical activities, was a popular place for musicians in the 1940s to meet and to play together. In the 1990s, nearly 50 years after
the club was closed, inspired his popularity, a recording of the Cuban musician Juan de Marcos Gonzalez and American guitarist Ry Cooder revived the fame of the club with traditional Cuban musicians, some of whom were
veterans, having played in the club in the heyday of his actual existence.
So where's the connection?
"Mala Vita" is an Italian term for crimes. But it may be understood as a kind of counterpoint puncture for the term "Buenavista" in some aspects. In the use of the italian word There is a kind of indication to my Italian
roots in the use of the italian word. The album also includes a song called "Parthenopean Shores", which deals with the historical background of the city of Naples, Italy. We have also used some well-known melodies, reminiscent of popular
Neapolitan music, in this song.
"Antisocial" is not only a way of life, but also one of my favorite metal songs from the early eighties, which was originally recorded by the French band TRUST and later revised by the cover of the American thrash
metal pioneers ANTHRAX and thus brought to greater recognition. "Antisocial" is what I would personally call a lot of governmental decisions, politics in general, so-called "religious authorities" and some of the
so-called NGOs ...
The "Social Club" is somehow a reminder of the first years with DARKSIDE for me. Not only that we rehearsed a lot at that time back then, we also spent a lot of time together beyond that, so the band was a sort of "Social
Club" for us, I would say.
"Malavita Antisocial Club" is also very strong idiom for the lyrical themes I have tried to deal with on the album. The main basic themes are conspiracies, conspiracy theories, the impact of criminal organizations, mass slavery and
many other issues that I have occupied myself with during the last 30 years, mainly through reading books on these subjects, but also because of my interest in different aspects of politics, history and spiritual issues of all kinds.
On the other hand: The "Malavita Antisocial Club" stands for a number of cool guys who have decided to lend me their talents as songwriters and musicians as well as for making themselves available to make come true my dream, which I am
very grateful for.
"Morphean Empires" - realms that are subconsciously constructed or planted in the human head, without being really aware of it - could not just stand for empires of sleep, empires of dreams, but also for the empires of the subconscious.
For me, it does not only have a lot to do with propaganda, mind terrorism and mass hypnosis, but also with the fact that from the day we are born we begin to die. All of us try to achieve something in this life that makes it unique, perhaps dedicated to
something special, not to be like everyone else - but in death we are all equal, no matter what everyone has done throughout his life, which successes someone has achieved or not. The realm of death is the most powerful idea that we all have in our minds.
We live with it every day, and there is no escape. Thoughts on how this issue affects our lives and thoughts can also be found in the texts.
"Morphean Empires" therefore is the title we have chosen for our first album, alliegedly for several reasons. Daily moving questions that bombard us through the media constantlyall over the world, but which are also additionally fueled by
social networks and not only that they make clear to us how small our world has become, but also show how dependent most of us really are, addicted to this constant drip of unconscious manipulation, like slaves, willingly fed by their constant tries
to conquest of the privacy of our brains, we all suck corrupt information at the putative warmth of its breast. False identities, fake profiles, false ideologies and false information - all this ultimately leads to a false and fake life ...
The amount of information has become an insoluble problem for individuals and makes it almost impossible to decide which information is useful or useless. At the next level, we should be able to decide which information is true or which is wrong. However,
due to the mass of misinformation and uncontrollable content, it is rather a neverending story and a hopeless overload of the individual and society, which in my opinion is part of the plan ... a trend reversal with respect to the so-called "Human
Budgeting". Did the rulers in past centuries try to keep the little man away from information, research, culture and knowledge, we can see almost the opposite of it today. People are drowning in information, 24 hours a day, 7 days a week, but in the end,
however, it leads to the same result as centuries ago. The desire of those in power to a degenerate electorates that only too willingly will accept the "goods" offered to them in the supermarket of information, regardless of the consequences.
One of my favorite quotes derives from lyrics dated 1994 which bears the following impressive expression: "... and in the depths of your heart, there is nothing but fear ...."
For me, this has to do much with propaganda, opinion terrorism and mass hypnosis, but in the end it would be too easy to look for the responsibility only at instances of the media and the politics, because the whole machinery workes much more subtle and
diversified. Each of us should be able to decide whether he/she believes a lie, or if one prefers to lie to himself, so that he/she can think of certain information in connection with its own standards of how to think and how to behave, and tob e able to
accept them in a better way.
In times where conflicts smolder throughout the world, executives, whose thinking should be based on secular rationality, rather seem to be wanting to make three steps back in evolution, by declaring war on intelligence and the academic discourse.
As if a giant magnet was about to withdraw the world's population to the Middle Ages, when religion was everything and the individuals as such did not seem to exist. While traditional „thought-limiters“ seem to lose influence, the most extreme
manifestations never before experienced just influx, specifically those who inject racism and have intolerance, bigotry, elitism and worship of imaginary friends written on top of their agenda, creating imaginary scapegoats which should assume
responsibility for the people´s actions, so that everybody will be able to live in peace, but always trembling in sight of the end ... because the final verdict awaits ....
In fact, THAT judgment will come, if you are stupid enough to believe these horror stories of millennia old desert death cults that have been created solely for the purpose of suppressing people, to make them dumb, deaf and blind towards others
outside of their belief and finally, to kill. The originators and the conservators of these contemptuous belief systems would like to depersonalize people, they discourage their needs and enslave them in mental and emotional bondage ...
WOLFHEART feat. THE MALAVITA ANTISOCIAL CLUB began as my solo project, but now it has become an ambitious band project of three musicians who have decided to throw their creativity and versatility in a pot and create a very unique metal
album, consisting of various shades and colors, with the help of their musical visions, as proof that even in the center of Europe good metal can be made without sucking up to every trend and without having to fall back on local atmospheres and
influences or pragmatism.
The Tracks:
THE GOD DELUSION
A song about the hypocritical faith dictates of monotheistic mass religions, inspired by the eponymous book by the American author Richard Dawkins.
"The God of the Old Testament is arguably the most unpleasant character in fiction: jealous and proud of it; a small, unjust, unforgiving control freak; a vindictive, bloodthirsty ethnic cleanser; a misogynistic, homophobic, racist infanticide,
genocidist, son murderer, an all pestilent, megalomaniacal, sadomasochistic, capriciously vicious tyrant. "
"There is something infantile in the assumption that there is an old man up on a cloud, representing the responsibility to fill our life with meaning ... The truly adult image in contrast would convey that our lives can be as useful, as satisfied and as
wonderful as we choose to make them. "
"A child is not a Christian child, not a Muslim child, but a child of Christian parents or a child of Muslim parents. This latter nomenclature, by the way, would be an excellent parameter to raise awareness amongst children to be themselves. A child who
is told that it is a child of Muslim parents, will immediately understand that religion is something selectable or detestable, if he / she is old enough to do so. "
"The take-home message is that we do not need to give the religious extremism blame but the religion itself, - it does not conform with reality that extremism is only a kind of terrible perversion of the real, decent religion. Voltaire said it right long
ago: "Those who can make you believe absurdities, can also make you commit atrocities." So Bertrand Russell: "Many people would rather die than think. In fact, they do. "
EUGENIC THEOCRACY
How an Anglo-American elite is trying to reduce the worlds population on the basis of the ideas of communism and capitalism, both representing the same kind of evil in the end.
-The Tendency to be religious is, like most other aspects of the human personality, partially heritable.
-Religious People, some curiosities like the Shakers (in Shaker societies men and women equally have the line functions as a so-called "elders" (Elder and Eldresses). The theological guidelines oft he Shakers reflect philosophical currents of the
Enlightenment, so both sexes are basically the same and Jesus of Nazareth, is not the biological child of God, who was gender-neutral as a spiritual being, but was excluded by the divine voice at his baptism to be assumed as son Of God), are more
reproducible active than non-religious people.
Now, lets move through the latest news about consumer eugenics and designer babies. If consumer eugenics will become cheaper and ubiquitous, as I suspect, won´t religious people want their offspring to be genetically manipulated to ensure that they have
religious inclinations? With the result that, if this differential birth rates persist, the world will be populated of ever more religious people generation by generation?
And if these things prevail, aren´t the churches and religious communitiesgoing to do lobbying for more choice in baby design on genetic tweaking out of pure self-interest? While the legions of the wicked will call for restrictions on these techniques, in
fear of growing theocracy?
UNSUNG HEROES (THE DAY THE GLOBE EXPLODES)
The struggle against violent religious fantasies and fanatics represented in very dramatic fashion, from the perspective of an atheist
SOULS IN THE VOID
Deprived of all cultural traditions, people live in a meaningless world, their minds filled with useless information, only to be worn out as lambs to the slaughter and to be sacrificed on the altar of progress and tyranny. But how could one imagine
Near Death Experiences? A spiritual approach ....
After death, some souls are travelling very fast along the two lower realms - the earthbound realm and the void - through the tunnel and on to the higher levels. Other souls, especially those that have a strong inclination for earthly desires, they have
developed a strong binding across the physical level to give access to the intellectual, they don´t want leave the earthbound region in a vain attempt to return to Earth. Many near-death experiences, as you will see later, describe souls who switch
immediately after death in the void. From here, the soul can travel through the tunnel to the light in the next spiritual level. Other souls remain in the void for one reason or another, until they are ready to tear themselves away from this place.
The general consensus among the near-death reports is that the void is completely devoid of love, light and everything. It is a realm of complete and deepest darkness where nothing exists but the thought patterns of those present, who populate it.
It is the ideal place for the souls to examine their own mindset, to look at their recent experiences on Earth, and to decide what to do next.
For some souls, the void is a beautiful and heavenly experience, because, in the absence of everything, they are able to perfectly see the love and light that is embedded in them.
For other souls the vacuum constitutes a cruel, terrible hell, because they are completely reduced to themselves. In the absence of any other stimuli on they are thrown back on their own failure to perceive beauty and love and to their own devoid.
For this reason, the void is more than a place for the reflection of the soul. For some souls, it is a place of purification. In the latter case the void acts as a kind of time limit, where troubled souls remain until they choose a different
approach.
SUBCONSCIOUS RUINS
The ruins of our subconsciousness, or what's left of it. Swept away by millennia filled with pseudo-religious enslavement doctrines, once spiritually gifted mankind displays a state of misery, as far as ist spiritual abilities are concerned. The
attempt to analyze ...
PARTHENOPEAN SHORES
This song is actually more of a suite, it takes scarce 27 minutes and is divided into 8 parts. Due to the playing time of the entire album, this song is on an extra CD.
Tod und Auferstehung (Death and resurrection) (Part 1): it is really just an intro and represents a man scorched by lava who once again incarnates and tells the following story.
(Part 2): Campi Flegrei (The Burning Fields): this was the Roman name for the whole area of the Gulf of Naples, where geysers and volcanoes are aligned, where the Earth is in constant flux, where the elementary
forces represent the only constant in addition to the beauty of the landscape, those forces represents angelic beauty and a threat to the entire region at the same time. A virtual tour through the Gulf with the words of the Latin poet Virgil
Eruption (Part 3): A try to musically reproduce an eruption of Vesuvius, purely instrumental, we tried to represent the overwhelming power of nature to destroy life, but also to create. As a matter of fact, also the
historical events of the "Four Days of Naples", when the population of Naples has freed itself from the Wehrmacht and the fascists in 1943 with strong participation of the so-called "Scugnizzi", the street children in Naples, have inspired me when
creating this part. This is also the reason for -
(Part 4) The transition to part 5 is formed by an excerpt from the soundtrack of the film of the same name for this event, the so-called "Tarantella Tragica" by Carlo Rustichelli.
Blood Of The Ghost (Part 5): This part is about a miracle taking place annually - the blood of the patron of Naples, the San Gennaro, which is kept in a Eprovette in the catacombs of the cathedral of Naples, is required to liquify on a
particular day of the year. For this purpose, the container is worn around the cathedral in front of the eyes of the faithful and shown repeatedly. If the miracle does not happen, it is received as a bad sign ... on the other hand, the song has to do with
my personal connection with the city, because I, although I may be rarely there, I still always try to participate in all events happening in the city as if inspired by a spirit, which is why I was given the nickname "Viking with a Parthenopean
Heart“ by my relatives when I was young. This derived from my appearance and my affinity for this city.
(Part 6): A short excerpt from one of the most famous Neapolitan folk songs, which was also voiced among others by Antonio Caruso, forms the transition to Part 7
Sails Of Blood (Part 7): The name of this part refers to some monstrous concrete apartment blocks in one of the most violent neighborhood in the area called the "Ninety-nine", an isolated environment in Scampia, a suburb of Naples. The
presence of the Mafia, which dominates a large part of the periphery, and the wars between gangs is what constantly propells this area into the headlines of the media. The government of the city of Naples tries to fight organized crime, wherever they can,
but sometimes it seems a battle noone can win ...
Anima (Part 8): the last part is a tribute to the late Neapolitan singer and guitarist Pino Daniele, who died last year, a cover version of one of his most famous songs. "Anima" means "soul" and that's what makes up and
represents a large part of live in Naples; despite the difficulties, despite the odds, the people of Naples are on again and can not deter further an open, loving, life-affirming approach to decide on the nature of the day. Through all of these influences
from history, geography, politics, culture, the mentality of these people creates a very own blend of charm, deceit, lust for life and warmth that embodies the "Neapolitan way of life" more than anything else.Asked about the ryzhmics used in this
song, Alessandro answered that it it was the best possible compromise between Swing and Death Metal ....
THE LUCIFER PRINCIPLE
The system of indoctrination by the mass media seems similar to the one of the mass religions.
The book "The Lucifer Principle" by Howard Bloom sees social groups, not individuals, as the primary "unit of selection" in reference to genes and human development. It states that both the competition between the groups
as well as the competition between individuals shape the evolution of the genome. "The Lucifer Principle" examines the complex relationship between genetics, human behavior and culture and argues that "evil is a by-product of the
strategies of nature for the selection, and that it is woven into our basic biological material". It states selection (ie. by violent competition) as crucial for the creation of a "super-organism" of society. The author also focuses on competition between
individuals and their position in the "pecking order" and on competition between the groups to create pecking orders in groups . „The Lucifer principle“ shows how crucial ideas are in this ranking battles, namely vital in creating
cohesion and cooperation. Correspondingly The Lucifer principle concludes: "…superorganism, ideas and the pecking order ... these are the primary forces behind a majority of human creativity and much earthly good. "
DIE ENGELSMACHER
A song about false prophets and false priests…
They were called "the abortionists of Nagyrév," the women in a small Hungarian village, deep in the southeast of the country. Admittedly, the story, according to tradition, started actually quite pleasant. When the husbands of the women of Nagyrév during
the First World War were at the front , their wifes at home exactly knew how they were able to gain help not only for house and home, but also for their female wellbeing remedy. And that was the point at which the inhabitants of the nearby prison camp had
started to play a crucial role ....
When their men then – injured and embittered - came back from war, they were subsequently deprived with the aid of arsenic of the last thing that remained to them - their lives. The women did not want to accept the fact that their assistants were
now being replaced by run-down, neglected figures. Eventually, the authorities discovered the accumulating deaths because the women no longer contented themselves to eliminate their husbands but in principle to convey everything to death, what was in the
way of their plans. And the drama began.
ONE WORLD CONSPIRACY
Trilateral Commission, Bilderberg, the pan-European movement, intelligence and secret societies
A one world government and a unitary monetary system, oppressed under permanent non-elected leadership, but by inheritable oligarch power that elects successors from its own ranks in the form of a feudal system, like in the Middle Ages. The guiding
thought in this One World unity is, that the population will be limited and decimated by restrictions on the number of children per family, diseases, wars, famines, until only one billion people is left of the world's population, whichwill be solely
useful tot he ruling class, living strictly only in areas that are clearly defined.
There will be no middle class, only rulers and servants. All laws are unified under a legal system of the one-world order, supported by a One World Government police to enforce this legal system in all former sovereign countries whose boundaries will
no longer exist. The system will be based on a welfare state; those who are obedient and subservient to the One World Government, will be rewarded with the means to live; those who rebel are simply starved out or declared outlaws, fair game for anyone who
wants to kill them. Privately owned firearms or weapons of any kind are of course prohibited.
SONG FOR LARA
A song that has a very special meaning for me personally and describes the relationship with a very special person.
PLUTONIAN DEMOCRACY
The underworld of democracy that brings us all a little closer to the edge. The tunneling of established political systems and the unability of the mass parties to evolve and thus push forward democracy leads back to the old models we all hoped were long
forgotten….
Pluto (Greek: Πλούτων, Plouton) was the ruler of the underworld in classical mythology. The former name for the god was Hades, as the underworld itself was called often. In the ancient Greek religion and its myth Pluto represents a more
positive concept of God that presided the afterlife. Plouton was often fused with Ploutos (Πλοῦτος, Pluteus), a god of wealth, because mineral resources are found underground, and because Pluto as a chthonic god ruled the deep that contained the necessary
seeds for a bountiful harvest. The name Plouton became into widespread use with the mysteries of Eleusis, where Pluto was revered not only as a strict ruler, but also as the loving husband of Persephone. The pair received souls in the afterlife, and was
acclaimed in religious writings. Hades however, had only a few temples and religious practices that were associated with it, and is portrayed as the dark and brutal kidnapper of Persephone.
The Bibliotheca of Pseudo-Apollodorus uses the name Plouton vs Hades with respect to the tripartite division of sovereignty, the abduction of Persephone and the visit of Orpheus in the Underworld. This version of the theogony follows Hesiod in most cases
(see above), but adds that the three brothers each received a gift of Cyclo pesto for use in the fight against the Titans, namely: Zeus - thunder and lightning; Poseidon - trident; and Pluto - a helmet (kyneê).
The helmet accounted to Pluto, is probably the magic cloak of invisibility (aidos kyneê), but the mentioned Bibliotheca is the only ancient source that explicitly says that he belongs to Pluto. The word „aidos“ means
"invisible", and therefore it is assumed, that it belonged to the ruler of the underworld, as no other ancient source records use or his possessions. Later authors as Rabelais (16th century) clearly account Pluto to the helmet. Erasmus
calls it the "helmet of Orcus" and there is a phrase which refers to those who hide their true nature by a trick. Francis Bacon put it in proverbial context: ". The helmet of Pluto, which makes the policy of the powerful invisible,
which is embodied by secrecy in the council and speed in execution"
Pluton largely corresponds to Hades. Very often he was equated with Pluto, god of the (underground) wealth. Whether and how the three - Hades Pluton and Pluto - were originally discriminated, is hard to say nowadays. Plato, for example, thinks that Pluton
/ Pluto should be seen very positive as the dispenser of wealth, but Hades on the contrary is the name of the invisible deathbringer, whose name the people did not dare to call and therefore they euphemistically called him Pluton. A difference can moor at
any rate:
Unlike Hades, Pluton was worshiped along with Demeter and Kore in various cults. One of the sanctuaries of Pluton is called Plutonion. It has therefore been suggested that Pluton of Eleusis replaced the old god and that the spread of his cult was
the expression of a new admiration, corresponding to the messages of the mysteries of this gods image. The epigraphic evidence of early Pluton cult can be retraced to Attica and to the region of Eleusis.
In latin literature, Pluto found evidence as the abductor of Proserpina (= Greek. Persephone) as designed in the myth by Ovid. According to the Greek myth, Pluto became the ruler of the underworld, after Jupiter (Greek. = Zeus) their common father
Saturnus (Greek. = Kronos) wrested control of the world and had shared it with his older brothers Neptunus (Greek. = Poseidon) and Pluto.
The Roman underworld gods Dis, Orcus and Eubuleus are oftenly equated with Pluton.
MORPHEAN EMPIRES
Morpheus
Name for the god of dreams in Ovid, the son of sleep, literally "the manufacturer of forms," from the Greek word „morphe" form, shape, image, " especially " a good figure, a beautiful shape, beauty, fashion, outer ressemblance; maybe from
PIE * merph- a possible Greek root meaning "form". See also: Morphean. Cf.Morpho, an epithet of Aphrodite, literally "elegant."
So, "Morphean Empires" could also stand for the outer appearance of everybody and the irrationality that is created in the minds of people through advertising and mass media, as they should be, how they should behave, what to buy, what to
detest - a general indictment of mental support and conscience creation
RITES OF THE APOCALYPSE
An end-time vision of a man who has been living indefinitely on Earth and has witnessed all the horrors of history, the next generation is trying to save them from fatal errors, but must ultimately capitulate to the ignorance of mankind
5 2 1 (FIVE TO ONE)
A cover version, originally the song was first released in 1968, on the album "Waiting For The Sun" of the American rock band THE DOORS.
The final track of "Waiting for the Sun" album, incidentally also our conclusion track of the regular cd, came at a time when the band knew for sure that their audience was expecting messages from them, and they did not fail in providing
such to their fans. Whether it was, however, what they wanted to hear, is another question. Superficially it could be interpreted like a call for mass revolt. But on closer listening one discovers more of a reproach towards the Flower Power generation,
namely to be weak and not being able to organize their own individual minds. Musically, the song's structure is based upon a menacing, almost heavy metal-like guitar theme and just such same kind of an organ riff, which of course led us to underline these
trademarks even stronger. Additionally, we tried to honor the drum track of John Densmore, which enjoys marching music like intonation, in our version accordingly, while in the selection of organ sounds we have chosen a more electronic
variant, inspired by the sudden death of Keith Emerson. The title of the song itself might indicate the relationship in numbers between the Gis and the Vietcong in the Vietnam War, while the quote "No One Here Gets Out Alive" had to serve
as a title for a Jim Morrison biography. But Morrison was someone who on the one hand loved revolution, but despised the revolutionaries on the other hand, he just had a very ambivalent personality, and so the song title could also simply stand for the
sake of verse meter of the line "Five To One, baby, one in five". Jim Morrison has never shared the secret around the title of the song. What he did indeed share with us was his unique character to intone lyrics, and I have tried to approach very gently
to his great legacy.
Recording line-up:
Wolfgang Süssenbeck - vox, keys, concept
Jaroslav Lukac - git
Alessandro Vagnoni - drums, bass
Contributing musicians:
Thomas Schmoll - git
Walter Oberhofer - git
artwork:
Björn Goosses for www.killustrations.com
Joachim Luetke for Image Eye