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“Psychic Anthems for Generation Shoggoth”
A Brief History
Between the years 2000 to 2005, I recorded hundred of songs, under a variety of different pseudonyms, such as Buffalo Bill, Sypha Nadon, Sypha Nadon & the Faeries, Gothtronic, the Death Head Moths, and Vickie Miner (which was the name of Janeane Garofalo’s character in the 1994 film Reality Bites). In the year 2005, I assembled many of these songs into a ten CD, 120 song box set that I ‘cleverly’ titled The 120 Songs of Sodom. Around this same time a friend of mine, Ilya, began a non-profit netlabel on Internet Archive, the name of this netlabel being called “This Plague of Dreaming.” At the time he had only released one album, a single from To Repel Ghosts (Ilya, a musician in his own right, has released music under the names To Repel Ghosts and The Threshold People, and has recently started a new act, Moya Sestra, whose worldwide debut is featured on the new Mauve Zone Recordings compilation album). He had heard 4 of my songs and asked if I wanted to release them on his netlabel, as an EP. I finally settled on the name Sypha Nadon for my musical project (though since then I’ve recorded music under other names, such as Boy Destroyer and Zyklon Vagina), and the resulting Enter Horus EP marked the official worldwide debut of Sypha Nadon. I eventually went on to release two full-length albums on This Plague of Dreaming, 11 Chants for Russolo! (also released in 2005, a few months after the Enter Horus EP), and Threnody for Zumb Zumb in 2006 (the opening track off this album, “Sonic Lwa”, was even played on a college radio station, oddly enough).
By the time that the Zumb Zumb album was released I had become interested in starting my own netlabel and releasing more music. Around this time I was still hard at work on the website of the Necronomicon Transhumanist Society (NTS), a fictional secret society, and I thought it would be cool if the NTS had their very own musical branch (the NTS site is no more… I took it down earlier this year after months of inactivity, but the concept and philosophy still lives on). On January 20, 2007, I announced on my LiveJournal blog that I would soon be starting my own netlabel, Mauve Zone Recordings (or MZR for short). MZR became an official netlabel on February 19, 2007, and on March 6 it released its very first album, Boy Destroyer’s Rise Horus Rise.
Since that time the netlabel has released a further 13 albums, including two Sypha Nadon anthologies of earlier material (along with a new full-length album named The Black Omen, which was a soundtrack to a nonexistent computer game that was claimed to have been in development in the early 1990s), a Boy Destroyer EP, 3 anthologies from the Cat Band (a band that my younger brothers created back in the 90’s), along with albums from my friends The People’s Tongue (a member of which is our very own Winter Rates), Thomas Moronic (who needs no introduction), and another friend of mine, Bryce Clayton Eiman. Odd, when I began MZR I didn’t take it that seriously, in fact I just saw it as a dumping ground for some of my musical side projects, yet somehow it has taken on a life of its own as other people have become involved with it. I do not know what the future holds for it, as it is an ever-changing thing. I will say, however, that MZR seeks to differentiate itself from other record labels, many of whom are faceless, anonymous, and sterile in their outlook and philosophy of life.
MZR is always on the lookout for new artists. If you have music you think would make a good fit for the label (and it’s recommended that you listen to a few of the albums first, in particular MZR014, the compilation album), drop us a line at mzr777@gmail.com.
The Mauve Zone
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“The Mauve Zone” is a term created by the occultist Kenneth Grant. It first came into use in his book Hecate’s Fountain, which was published by Skoob Books in 1992. Grant uses the term to designate an area that exists in between the states of sleeping and dreaming. He likens the Mauve Zone to the 11th sephiroth (or, as he sometimes refers to them as, power-zones) on the Hebrew Tree of Life, the name of this sephiroth being ‘Daath’ (which means ‘Knowledge’). In Grant’s system, Daath serves as the gateway to the Other side of the Tree of Life, which is known not only as the Tree of Death but also as the Nightside of Eden (which is the name of one of Grant’s earlier books). According to Kenneth Grant, the Tree of Death is the noumenal source of phenomenal existence (the latter being represented by the Tree of Life). However, it should be noted here that the Medieval Qabalists placed the Tree of Death beneath the Tree of Life, hanging below Malkuth like a virulent system of roots. Hanging onto this Tree of Death are the ten Qliphoth or "Shells", which are shattered worlds of evil and disease. Connecting these ten Shells are a network of pathways that Grant refers to as the Tunnels of Set. These tunnels are haunted by the Qliphoth, the spirits or ‘shells’ of the dead (hence the reason why the Tree of Death is sometimes designated as the ‘World of Shells’). Grant sees these Qliphoth as the negative substratum of positive existence, and he believes that it is one of the goals of a magician to establish contact with these (it must be said) very dangerous entities. Another occultist, Michael Bertiaux, refers to the back of the Tree as Univese B, whereas our world, our so-called “reality”, is Universe A. In any event, it is Grant’s theory that Lovecraft’s ‘Necronomicon’ is in fact an astral grimoire that can be located in the Mauve Zone, that sephirothic worm hole that allows one access to the primal atavisms on the back of the Tree. It is interesting to note that Grant considers Yog-Sothoth to be the gatekeeper and guardian of Daath on his own Necronomic Tree of Life, yet the creature he assigns to Daath is the Cephalopod, which is usually attributed to Cthulhu.
I mention all of this for the obvious reason that it is Kenneth Grant’s theory and use of the words Mauve Zone that inspired me when it came the time to establish a name for my label. And because I like to see some (but not all) of the albums put out as emanations from alien spheres of consciousness, the name seemed appropriate. I myself glimpsed the Mauve Zone in my vision of 2003, when I was in between the states of waking and dreaming. I have tried to capture the alien nature of this vision in some of my songs, the recent Sypha Nadon song named ‘The Mauve Zone’ being perhaps the best example of this to date.
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MZR Discography
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[MZR001] Boy Destroyer: Rise, Horus, Rise (LP) (March 3, 2007)
[MZR002] Sypha Nadon: Universe A: Distant (LP) (April 13, 2007)
[MZR003] Sypha Nadon: Universe B: Closer (LP) (April 13, 2007)
[MZR004] Sypha Nadon/Zyklon Vagina: Malkunofat Disko (EP) (June 8, 2007)
[MZR005] Thomas Moronic: Hard & Evil (LP) (June 30, 2007)
[MZR006] The People's Tongue: Sonny Bono's Favorites (LP) (July 7, 2007)
[MZR007] Bryce Clayton Eiman: I'm Not My Type (LP) (September 6, 2007)
[MZR008] Bryce Clayton Eiman: Mono (LP) (November 3, 2007)
[MZR009] The Cat Band: Anthology Volume 1 (LP) (November 29, 2007)
[MZR010] The Cat Band: Anthology Volume 2 (LP) (November 29, 2007)
[MZR011] The Cat Band: Anthology Volume 3 (LP) (November 29, 2007)
[MZR012] Sypha Nadon: The Black Omen (LP) (January 28, 2008)
[MZR013] Boy Destroyer: Wild Boys (EP) (March 14, 2008)
[MZR014] MZR Compilation: A Dream as White as the Death of a Seagull (LP) (October 17, 2008)
All these albums may be downloaded for free from the Mauve Zone Recordings Internet Archive page (see links below, or click on the album name above to be taken to its individual page), as MZR is a non-profit netlabel. On the left of each album’s page are various download options. I recommend selecting “Whole Directory” to save them as this downloads all of the various songs, files and artwork into one convenient ZIP file (a real time saver, otherwise you’d have to do it on a track by track basis, and because some of the MZR albums have many tracks, that can take awhile!)
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The Insect Trust
Because I love the idea of pseudonyms and nom-de-plums, I thought it would be interesting to create a fictional identity for the founder of MZR. Thus I created a guy named Arthur Limbo. I visualize him to look like Dr. Simon Hurt, one of the main villains in Grant Morrison’s ‘Black Glove’ BATMAN storyline, as seen in the below comic book panel (taken from the most recent issue of Batman, #680):
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This is the MZR board of directors, AKA The Insect Trust:
H.P. Lovecraft: Our Spiritual Founder
Arthur Limbo: MZR founder and owner
James Champagne: Art, Production, Text, Promotion
Sypha Nadon: Mauvian Symphonist
Dr. Gargoyle: Science, Sound Experimentation
The Fabulous Mr. Meaningless: Dada Muse
The Booda Carrot: Our Godhead
Dr. Gargoyle, yet another pseudonym, will be in charge of MZR’s upcoming “Project Noir” which will be unveiled in 2009. I myself have no idea what “Project Noir” will even consist of, but I’m curious to find out!
The Fabulous Mr. Meaningless (pictured below) is one of my totem spirit guides and his picture has adorned many MZT products (including the Sypha Nadon poster located in the links section below). He has also appeared in many of my novels, including Confusion. The Booda Carrot is in fact a goofy-looking dog toy that I own… I got it for my dog one Christmas but he never played with it, so now it rests on my bed. I included a picture of the Booda Carrot at the very end of this document. Something about it’s goofy-looking nature appeals to my more innocent side, I suppose. It is the Godhead of MZR, whereas the entity known as Kind Hands is God and Zumb Zumb is Satan.
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A Dream as White as the Death of a Seagull
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Around the time I first conceived of Mauve Zone Recordings, I knew even back then that I eventually wanted to release a compilation album of sorts. But I couldn’t do it immediately because when I first started out the only bands on the label were my own! Gradually other artists began lending me albums and eventually I felt that the time had come. Originally, the album was to have been released in February of this year (to celebrate the one year anniversary of MZR), but due to the large amount of people involved the coordination led to many delays. However, it was finally released on October 17, 2008, with wonderful cover artwork supplied by our very own Erik Visser.
LINER NOTES:
Running Time: 60 minutes
- front cover album art courtesy of Erik Visser, embellished from a concept of James Champagne.
- back cover art Batrachia, by Ernst Haeckel, plate 68 from his 1904 book Kunstformen der Natur, modified by James Champagne.
- album title taken from Remy de Gourmont’s short story “The Shroud”, from the collection of his work called The Angels of Perversity: “Asleep, almost asleep in the shade of the dunes: there is no dress flapping in the wind. Amid the blackness of the stranded wrack a dream lay dead: a dream as white as the death of a seagull.”
- short story ‘Mauve Movies’ by James Champagne, 2008, written especially for this album, may be downloaded in PDF format here.
The Cat Band: Goods in the Hood
“Goods in the Hood” is one of the only Cat Band songs that was ever recorded by digital means, on computer. It is also one of the only Cat Band songs to drop the F-bomb. The song was totally improvised one afternoon many years ago (possibly in 2000).
Tom Champagne: Vocals
Bill Champagne: Keyboards, Vocals
James Champagne: Pencil-tapping Percussion
Sypha Nadon: The Wish Wish Song
Composed of samples from András Jeles’ The Annunciation, Maya Deren’s Meshes of the Afternoon, Luis Buñuel’s L'Âge d'or, and Luigi Russolo’s intonarumori. “Wish Wish” sample and Wyoming Whippoorwill Wail courtesy of James Champagne.
The People’s Tongue: Staunch
How does the rabbit get those essential nutrients? She eats the cecotropes as they exit the anus. The rabbits blissful expression when she's engaging in cecotrophy (the ingestion of cecotropes) will tell you that she finds this anything but disgusting. In fact, rabbits deprived of their cecotropes will eventually succumb to malnutrition. Cecotropes are not feces. They are nutrient-packed dietary items essential to your companion rabbit's good health.
http://shane-movies.blogspot.com/
To Repel Ghosts: Blow
A student composer's life, if you will forgive us the generalization, can be divided into two periods: before they encounter Steve Reich's Come Out, and after. "Blow" is our way of acknowledging the debt and offering homage. While it lacks the methodological rigor and social relevance of its model, it enjoys the advantages of a) being somewhat shorter, and b) the enchanting voice of Lauren Bacall.
Serapeum: Fansystem
Serapeum is a artificial computer system embedded within certain orthographic spheres of reality and is also known as a timestation. The Serapeum timestation receives and
gathers audio fluctuations at crucial points along the gnostic meta axis of reality and
downloads these signals for further analysis and reality selection.
Nemerion scientists have figured out how open a Stargate to the backside of the universe. The Nemerion utilize a gnostic hyper nexus of oscillating sub oblations to catalyze certain topologies within the ontic net. For them to do this , they need sufficient aural power structures of Zomate within the earth grid. Serapeum is a audio-etheric station along the Zothryian nexus of the orthagonal grid system and therefore regulates any time machines with the Sub-Earth Axis. This super computer helps regulate and stabilize certain sub zero etheric vibrations from within the continuum of Univere B due to the Nemerion research cults.
Zyklon Vagina: The Creeping Sickness
“He was a broken man not only in mind, but in body. Let me tell you. In that island which I have not named there is a horrible disease called by the natives the Creeping Sickness. It is supposed to come from a poisonous place named the Black Belt, and a part of this Black Belt is near, too near, to the hacienda in which Juan sometimes lived.”
- Sax Rohmer, Bat-Wing
Bryce Clayton Eiman: Sex in Heaven
First off, unhear everything. That which I produce one could not call 'music' by any charitable extension of that term. Simply put, my work is a machine for displacing air. I fancy calling it Art, but I think that intention has less to do with pride than with indolence. They say you've got to draw the line somewhere, but I rarely draw the same line twice -- and most times not at all.
Thomas Moronic: Boulder Dash
"I was interested in the idea of routine, the effects it has on a person, the way a brain starts acting in certain ways because of it. I took sounds from a particular journey that I often have to take, and took sounds from it, the footsteps, the sound of my breath, the traffic, the people around me on public transport, my friends' voices and tried to warp them swap them around and see what the results were. It was more of a private investigation of sorts, informal personal research in a way. These are the results, one track from a series of pieces based around those ideas."
Moya Sestra: Spider Joe
"Hopeless of any weapon to repel
The loathsome, crawling danger, we embraced,
And kissed with silent kisses mixed with tears"
- Henry Abbey, The Giant Spider
This is not a cautionary tale.
Sypha Nadon: The Mauve Zone
2. From the destruction of mind that gives birth to Chaos
3. A zone of mauve is created, a desert of sand above the Tunnels of Set. The winds hurry through them,
4. A sinister piping bearing the Beetle on its wings.
- Kenneth Grant, OKBISh: The Book of the Spider, section 11, verses 2-4
This song contains a recital of Kenneth Grant’s poem “Mauve Zone” as found in the book Convolvulus and other poems.
James Champagne: The Lord’s Prayer
“To be an alien, to be in exile, is the mark of Christian suffering.”
- Søren Kierkegaard
The official press release/launch party for the album may be seen here.
Text excerpt from the ‘Mauve Movies’ short story I wrote especially for the album:
----“It began with a title card with the words Votaries of Tuluruz in florid baroque lettering. However, that was the extent of the opening: no director, cast, or actors were credited. After the title card vanished abruptly I was treated to this opening image: a night sky illuminated by a crescent moon, a moon whose image was mirrored in a vast ocean below it, which made me think of a certain tarot card. At the very bottom of the shot was a cliff ledge that seemed to be populated by thousands of dandelions, swaying to the unheard music of nameless Aeons. The camera lingered on this setting for a few minutes, and the calmness of the ocean and the gentle swaying of the dandelions had a soothing effect on my delicate senses. Then the camera began to slowly focus in on the cliff ledge and the field of dandelions, moving closer and closer to it, and as it got closer to the ledge I was shocked to see that the dandelions were in fact women, thousands of them, utterly naked save for a large, odd-looking white diamond that each of them had strapped onto their heads like helmets. The women, who for the most part were young, large-breasted and Asiatic in appearance, were moving in a highly stylized, almost somnambulistic manner, their movements seemingly synchronized, like a flock of birds. I admired their nocturnal choreography, and at the same time was lulled into a further passive state by their liquid undulations, as if I were being hypnotized.
----For a few minutes the camera remained stationary, just basking in the visual splendor of the strange dance of these exotic women, who seemed to be the votaries of some bizarre unknown god. Then, the film cut to a close-up of one of the women’s vaginas. The woman’s hand appeared in the frame. She pulled open her vaginal lips and, to my horror, I watched as a vampire bat emerged from her opening, fully-formed. This was followed by many more shots of women enacting a similar act, though in some cases it was not a bat that emerged from the primal gash, but a toad, a beetle, a snake, and, in one instance, a black cat!
----I marveled at how realistic all of this seemed, and in the back of my mind I wondered who had done the film’s special effects. The film then cut to a close-up of the crescent moon. I watched as the bats that had emerged from the vaginas of the votaries began to fly in a massive leathery cloud towards the moon, vanishing somewhere in between the two points of the crescent shape. Suddenly, after the last bat had vanished, there was a brief flash, and then a creature of sorts appeared on the moon itself, resting on the lunar sanctuary as if it were a divan. The creature was amorphous and blob-like in appearance, with large slime-covered tentacles that dangled downwards towards the ocean below. Gigantic bloodshot eyes dotted the surface of the abnormality like oculi warts, and though it lacked a recognizable mouth I will say that from the mass there did emerge massive funnel-shaped devices, as if the skin of the monster were sprouting tornado acne.
----Then the moon tilted into a horizontal position, so that the points of the moon were pointing downwards, towards the Earth. The creature fell into the ocean, and to my surprise, there was no splash of water upon impact. For a minute, after it had vanished into the depths, all was calm. Then, with no warning, the creature burst forth from the ocean, only now it had transformed into a new shape. It resembled a gigantic bat of sorts, its round body covered in black fur, its leathery wingspan truly awesome to behold. However, instead of having a head, the creature’s face was located in the center of its furry body, and this face consisted of a massive eyeball that resembled that of a snake, and beneath this eyeball was a beak similar to that of a snow owl. Jutting out from the top of the creature’s body were two huge white antlers which seemed to rise into the sky for miles, and nestled in between these two antlers was a large rhinoceros horn. Instead of feet, the monster had three long slime-drenched tentacles dangling beneath its lower body.
----The winged monstrosity spread its wings and flew above the heads of the female votaries, who stared up at the creature in a state of awe which matched my own. The creature, now hovering in place above their heads, began flapping its wings in fast motion, like a hummingbird, and astral pollen began to drift downwards from its body like angelic snow, the pollen sticking to the bodies of the women. This seemed to drive them into a mental state of almost religious ecstasy. They began to dance again, however, whereas before their movements had been consistent and synchronized, a lush ballet of order, they now danced in a wild and chaotic fashion, a dance of derangement, harlots of hell performing a chaotic ritual. As the bat-winged monstrosity continued to bless them with its astral pollen (no doubt collected from whatever dank Sethian tunnel from the Tree of Death that this creature undoubtedly called home), the women began to wildly make love to each other in a mass Sapphic orgy.
----I watched all this as if I were in a hypnagogic trance, watched as the women grinded their naked bodies against one another. Some of the women merely kissed while rubbing their breasts against those of another woman, while others performed bestial cunnilingus on each other. As this sexual rite built its way towards a culminating orgasm, the winged eidolon’s flapping increased to such an extent so that its wings appeared to be almost invisible, that’s how fast they were beating. Soon the bodies of the women on the cliff below it were completely covered in the astral pollen, so that their sexual ecstasies resembled the writhing of a gigantic garden of white maggots. Eventually, the women rose up, only now, underneath the cover of the pollen, they had undergone a transformation much like that of the creature from the moon. Whereas previously they had been human, now they resembled gigantic grasshoppers, six feet in length, only instead of antennae their heads were adorned with deer antlers, and on their backs were big angel wings composed of black feathers, wings that had been stitched with sorrow.
----I watched as the daemonic grasshopper-women began to beat their wings and fly off the cliff, towards the upside-down topsy-turvy moon from which the vaginal bats had vanished earlier. As they flew into the space between the two crescent points of the moon, they also vanished. Once their exodus was complete, the winged monster who was their dark god followed, and it also vanished in the space between the points (by this point I had realized that the creature’s name was Tuluruz). The moon then swung back into its regular vertical position. The film ended with one last lingering shot of the now familiar tableaux: the horned moon, the night sky, the sea, and the cliff ledge, which was now utterly deserted. Then the screen suddenly went blank, the mauve curtains that had concealed it before whooshed shut to block it, and the lights in the auditorium grew bright. Above me, I heard the projector whir shut. The movie was over.”
Preliminary plans for the ultimate Mauve Zone Recordings HQ
It should be located in the remains of an abandoned insane asylum, preferably one modeled after the Kirkbride plan, looking very much like the Buffalo State Hospital for the Insane in New York, as it looked when it opened in 1890. The administration building would serve as the main area, while the cells of the east and west wings could serve as guest lodging. The exterior of the asylum would be decorated with gargoyles similar to the ones that are located at the cathedral of Notre Dame and also in Gotham City. In the main building there would be a lobby with red and black curtains on the walls and red and black floor tiles. There would be an ornate dining room, along with a kitchen. There would be a library full of worm-eaten and forbidden occult tomes, including the Necronomicon, The Booke of Calthurr, and The Book of Ezaba. There would be an art gallery (featuring the works of Odilon Redon, Leonora Carrington, Max Ernst, and other noted Symbolist/Dada/Surrealist artists). There would be a recording studio, and an office for Arthur Limbo. There would be some very clean and state-of-the-art restrooms, modeled after those that appear in Japan (the Japanese have some of the most technologically advanced restrooms in the world). The basement would house a crypt and also a mad scientist laboratory, complete with giant demonic-looking Van de Graaff generators. The second floor of the main building would house Arthur Limbo’s master bedroom, a movie theater, and a room for magical rituals to take place, modeled after the one that Kenneth Grant’s New Isis Lodge used in London in between the years 1955-1962. There would be a hunchbacked butler, and security would be provided by men and women wearing mauve-colored trench coats and gargoyle masks. This asylum would be located in the middle of nowhere in the forests of New England, surrounded by swampland, ancient crumbling cemeteries and haunted houses, deserted gothic churches, etc. The area surrounding the asylum would be populated by both Typhonic beasts and also animals associated with the Typhonian mysteries: cats, snakes, spiders, crabs, goats, pigs, vampire bats, alligators, hippopotamuses, frogs, toads, whippoorwills, astral larvae, lizards, owls, hyenas, moths, vultures, doves, octopi, squids, cephalous, beetles, vampires, nosferati, and all sorts of magical insects. Trees would include the mangrove, the ash, the cypress, the elm, the yew (these are the flora of the Great Old Ones, trees of darkness).
Upcoming
Website
_______
www.thedarktentacle.com
(work in progress)
Links
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(the official Internet Archive page for Mauve Zone Recordings)
(the official Mauve Zone Recordings blog)
(the official Internet Archive page for This Plague of Dreaming)
(The Sypha Nadon MySpace page)
(the Boy Destroyer MySpace page)
(the Bryce Clayton Eiman MySpace page)
(the People’s Tongue MySpace page)
(Thomas Moronic’s MySpace page)
(To Repel Ghost’s MySpace page)
(Serapeum’s MySpace page)
(Erik Visser’s blog)
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Thank you Dennis for letting me do this day for your blog, and also to anyone on here who has downloaded and listened to MZR audio artifacts in the past!
----
*
p.s. Hey. This amazing post circa 2008 is so historic that d.l. and guest-host Sypha was still going by the more picturesque moniker SYpHA_69 at the time. It's an incredible thing, as you have probably already realized. Have fun. Nobody seems to have noticed that there wasn't a new post here yesterday, but, if anyone out there did and wondered why, there was in fact a post scheduled -- a Claude Ollier Day, to be precise -- with a full-fledged p.s. even, as yesterday happened to leave me with a morning free enough to blab with you, but said post somehow deleted rather than launched itself at the appointed time. I'm in Oslo, if you're curious.
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“Psychic Anthems for Generation Shoggoth”
A Brief History
Between the years 2000 to 2005, I recorded hundred of songs, under a variety of different pseudonyms, such as Buffalo Bill, Sypha Nadon, Sypha Nadon & the Faeries, Gothtronic, the Death Head Moths, and Vickie Miner (which was the name of Janeane Garofalo’s character in the 1994 film Reality Bites). In the year 2005, I assembled many of these songs into a ten CD, 120 song box set that I ‘cleverly’ titled The 120 Songs of Sodom. Around this same time a friend of mine, Ilya, began a non-profit netlabel on Internet Archive, the name of this netlabel being called “This Plague of Dreaming.” At the time he had only released one album, a single from To Repel Ghosts (Ilya, a musician in his own right, has released music under the names To Repel Ghosts and The Threshold People, and has recently started a new act, Moya Sestra, whose worldwide debut is featured on the new Mauve Zone Recordings compilation album). He had heard 4 of my songs and asked if I wanted to release them on his netlabel, as an EP. I finally settled on the name Sypha Nadon for my musical project (though since then I’ve recorded music under other names, such as Boy Destroyer and Zyklon Vagina), and the resulting Enter Horus EP marked the official worldwide debut of Sypha Nadon. I eventually went on to release two full-length albums on This Plague of Dreaming, 11 Chants for Russolo! (also released in 2005, a few months after the Enter Horus EP), and Threnody for Zumb Zumb in 2006 (the opening track off this album, “Sonic Lwa”, was even played on a college radio station, oddly enough).
By the time that the Zumb Zumb album was released I had become interested in starting my own netlabel and releasing more music. Around this time I was still hard at work on the website of the Necronomicon Transhumanist Society (NTS), a fictional secret society, and I thought it would be cool if the NTS had their very own musical branch (the NTS site is no more… I took it down earlier this year after months of inactivity, but the concept and philosophy still lives on). On January 20, 2007, I announced on my LiveJournal blog that I would soon be starting my own netlabel, Mauve Zone Recordings (or MZR for short). MZR became an official netlabel on February 19, 2007, and on March 6 it released its very first album, Boy Destroyer’s Rise Horus Rise.
Since that time the netlabel has released a further 13 albums, including two Sypha Nadon anthologies of earlier material (along with a new full-length album named The Black Omen, which was a soundtrack to a nonexistent computer game that was claimed to have been in development in the early 1990s), a Boy Destroyer EP, 3 anthologies from the Cat Band (a band that my younger brothers created back in the 90’s), along with albums from my friends The People’s Tongue (a member of which is our very own Winter Rates), Thomas Moronic (who needs no introduction), and another friend of mine, Bryce Clayton Eiman. Odd, when I began MZR I didn’t take it that seriously, in fact I just saw it as a dumping ground for some of my musical side projects, yet somehow it has taken on a life of its own as other people have become involved with it. I do not know what the future holds for it, as it is an ever-changing thing. I will say, however, that MZR seeks to differentiate itself from other record labels, many of whom are faceless, anonymous, and sterile in their outlook and philosophy of life.
MZR is always on the lookout for new artists. If you have music you think would make a good fit for the label (and it’s recommended that you listen to a few of the albums first, in particular MZR014, the compilation album), drop us a line at mzr777@gmail.com.
The Mauve Zone
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“The Mauve Zone” is a term created by the occultist Kenneth Grant. It first came into use in his book Hecate’s Fountain, which was published by Skoob Books in 1992. Grant uses the term to designate an area that exists in between the states of sleeping and dreaming. He likens the Mauve Zone to the 11th sephiroth (or, as he sometimes refers to them as, power-zones) on the Hebrew Tree of Life, the name of this sephiroth being ‘Daath’ (which means ‘Knowledge’). In Grant’s system, Daath serves as the gateway to the Other side of the Tree of Life, which is known not only as the Tree of Death but also as the Nightside of Eden (which is the name of one of Grant’s earlier books). According to Kenneth Grant, the Tree of Death is the noumenal source of phenomenal existence (the latter being represented by the Tree of Life). However, it should be noted here that the Medieval Qabalists placed the Tree of Death beneath the Tree of Life, hanging below Malkuth like a virulent system of roots. Hanging onto this Tree of Death are the ten Qliphoth or "Shells", which are shattered worlds of evil and disease. Connecting these ten Shells are a network of pathways that Grant refers to as the Tunnels of Set. These tunnels are haunted by the Qliphoth, the spirits or ‘shells’ of the dead (hence the reason why the Tree of Death is sometimes designated as the ‘World of Shells’). Grant sees these Qliphoth as the negative substratum of positive existence, and he believes that it is one of the goals of a magician to establish contact with these (it must be said) very dangerous entities. Another occultist, Michael Bertiaux, refers to the back of the Tree as Univese B, whereas our world, our so-called “reality”, is Universe A. In any event, it is Grant’s theory that Lovecraft’s ‘Necronomicon’ is in fact an astral grimoire that can be located in the Mauve Zone, that sephirothic worm hole that allows one access to the primal atavisms on the back of the Tree. It is interesting to note that Grant considers Yog-Sothoth to be the gatekeeper and guardian of Daath on his own Necronomic Tree of Life, yet the creature he assigns to Daath is the Cephalopod, which is usually attributed to Cthulhu.
I mention all of this for the obvious reason that it is Kenneth Grant’s theory and use of the words Mauve Zone that inspired me when it came the time to establish a name for my label. And because I like to see some (but not all) of the albums put out as emanations from alien spheres of consciousness, the name seemed appropriate. I myself glimpsed the Mauve Zone in my vision of 2003, when I was in between the states of waking and dreaming. I have tried to capture the alien nature of this vision in some of my songs, the recent Sypha Nadon song named ‘The Mauve Zone’ being perhaps the best example of this to date.
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MZR Discography
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[MZR001] Boy Destroyer: Rise, Horus, Rise (LP) (March 3, 2007)
[MZR002] Sypha Nadon: Universe A: Distant (LP) (April 13, 2007)
[MZR003] Sypha Nadon: Universe B: Closer (LP) (April 13, 2007)
[MZR004] Sypha Nadon/Zyklon Vagina: Malkunofat Disko (EP) (June 8, 2007)
[MZR005] Thomas Moronic: Hard & Evil (LP) (June 30, 2007)
[MZR006] The People's Tongue: Sonny Bono's Favorites (LP) (July 7, 2007)
[MZR007] Bryce Clayton Eiman: I'm Not My Type (LP) (September 6, 2007)
[MZR008] Bryce Clayton Eiman: Mono (LP) (November 3, 2007)
[MZR009] The Cat Band: Anthology Volume 1 (LP) (November 29, 2007)
[MZR010] The Cat Band: Anthology Volume 2 (LP) (November 29, 2007)
[MZR011] The Cat Band: Anthology Volume 3 (LP) (November 29, 2007)
[MZR012] Sypha Nadon: The Black Omen (LP) (January 28, 2008)
[MZR013] Boy Destroyer: Wild Boys (EP) (March 14, 2008)
[MZR014] MZR Compilation: A Dream as White as the Death of a Seagull (LP) (October 17, 2008)
All these albums may be downloaded for free from the Mauve Zone Recordings Internet Archive page (see links below, or click on the album name above to be taken to its individual page), as MZR is a non-profit netlabel. On the left of each album’s page are various download options. I recommend selecting “Whole Directory” to save them as this downloads all of the various songs, files and artwork into one convenient ZIP file (a real time saver, otherwise you’d have to do it on a track by track basis, and because some of the MZR albums have many tracks, that can take awhile!)
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The Insect Trust
Because I love the idea of pseudonyms and nom-de-plums, I thought it would be interesting to create a fictional identity for the founder of MZR. Thus I created a guy named Arthur Limbo. I visualize him to look like Dr. Simon Hurt, one of the main villains in Grant Morrison’s ‘Black Glove’ BATMAN storyline, as seen in the below comic book panel (taken from the most recent issue of Batman, #680):
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This is the MZR board of directors, AKA The Insect Trust:
H.P. Lovecraft: Our Spiritual Founder
Arthur Limbo: MZR founder and owner
James Champagne: Art, Production, Text, Promotion
Sypha Nadon: Mauvian Symphonist
Dr. Gargoyle: Science, Sound Experimentation
The Fabulous Mr. Meaningless: Dada Muse
The Booda Carrot: Our Godhead
Dr. Gargoyle, yet another pseudonym, will be in charge of MZR’s upcoming “Project Noir” which will be unveiled in 2009. I myself have no idea what “Project Noir” will even consist of, but I’m curious to find out!
The Fabulous Mr. Meaningless (pictured below) is one of my totem spirit guides and his picture has adorned many MZT products (including the Sypha Nadon poster located in the links section below). He has also appeared in many of my novels, including Confusion. The Booda Carrot is in fact a goofy-looking dog toy that I own… I got it for my dog one Christmas but he never played with it, so now it rests on my bed. I included a picture of the Booda Carrot at the very end of this document. Something about it’s goofy-looking nature appeals to my more innocent side, I suppose. It is the Godhead of MZR, whereas the entity known as Kind Hands is God and Zumb Zumb is Satan.
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A Dream as White as the Death of a Seagull
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Around the time I first conceived of Mauve Zone Recordings, I knew even back then that I eventually wanted to release a compilation album of sorts. But I couldn’t do it immediately because when I first started out the only bands on the label were my own! Gradually other artists began lending me albums and eventually I felt that the time had come. Originally, the album was to have been released in February of this year (to celebrate the one year anniversary of MZR), but due to the large amount of people involved the coordination led to many delays. However, it was finally released on October 17, 2008, with wonderful cover artwork supplied by our very own Erik Visser.
Track listing:
1. Orchestra 23: Intro (4:29)
2. The Cat Band: Goods in the Hood (3:12)
3. Sypha Nadon: The Wish Wish Song (4:22)
4. The People's Tongue: Staunch (2:14)
5. To Repel Ghosts: Blow (4:43)
6. Serapeum: Fansystem (4:39)
7. Zyklon Vagina: The Creeping Sickness (2:42)
8. Orchestra 23: Intermission (1:38)
9. Bryce Clayton Eiman: Sex in Heaven (4:22)
10. Thomas Moronic: Boulder Dash (5:12)
11. Moya Sestra: Spider Joe (5:40)
12. Boy Destroyer: Wild Boys Remix (3:20)
13. Sypha Nadon: The Mauve Zone (7:33)
14. Orchestra 23: Outro (2:56)
15. James Champagne: The Lord's Prayer (2:38)
Item Description:
Mauve Zone: a loaded term signifying the region between dreaming and dreamless sleep, which has its analogue in figurative expressions such as the Crimson Desert, Desert of Set, Voids beyond Daath, etc. It is the state which dawns beyond the abyss that separates phenomenal existence from noumenal Being.
-Kenneth Grant, 'Beyond The Mauve Zone' (Starfire Publishing 1999)
2. The Cat Band: Goods in the Hood (3:12)
3. Sypha Nadon: The Wish Wish Song (4:22)
4. The People's Tongue: Staunch (2:14)
5. To Repel Ghosts: Blow (4:43)
6. Serapeum: Fansystem (4:39)
7. Zyklon Vagina: The Creeping Sickness (2:42)
8. Orchestra 23: Intermission (1:38)
9. Bryce Clayton Eiman: Sex in Heaven (4:22)
10. Thomas Moronic: Boulder Dash (5:12)
11. Moya Sestra: Spider Joe (5:40)
12. Boy Destroyer: Wild Boys Remix (3:20)
13. Sypha Nadon: The Mauve Zone (7:33)
14. Orchestra 23: Outro (2:56)
15. James Champagne: The Lord's Prayer (2:38)
Item Description:
Mauve Zone: a loaded term signifying the region between dreaming and dreamless sleep, which has its analogue in figurative expressions such as the Crimson Desert, Desert of Set, Voids beyond Daath, etc. It is the state which dawns beyond the abyss that separates phenomenal existence from noumenal Being.
-Kenneth Grant, 'Beyond The Mauve Zone' (Starfire Publishing 1999)
This album, the very first compilation album from Mauve Zone Recordings, features tracks from every artist who has contributed to our label up to this point in space-time. It also features guest appearances from other interesting parties (such as To Repel Ghosts), to say nothing of artists whose work will be showcased in greater detail in the future (in particular, Serapeum and Orchestra 23). This album also marks the worldwide debut of Moya Sestra, who we are very happy to unleash on the populance. In addition to all of this, the album comes with a short story named Mauve Movies, a Neo-Goth Narrative that illustrates the sort of ultradimensional perichoresis we strive for. A big thank you to every artist who has contributed to not only this album but also to MZR thus far, and also we would like to thank those of you who have listened to our albums.
This album was channeled to Earth from a nameless Aeon of the future. To be more precise, March 15, 2337, a date highly significant in that it marks not only the 400 year anniversary of the death of H.P. Lovecraft, but also the discovery of the Ghooric Zone on one of the moons of Yuggoth by a group of space-traveling sex-crazed cyborgs.
Finally, we would like to dedicate this album to Fire Hydrant 451 and One Hundred Years of Salad Two.
This album was channeled to Earth from a nameless Aeon of the future. To be more precise, March 15, 2337, a date highly significant in that it marks not only the 400 year anniversary of the death of H.P. Lovecraft, but also the discovery of the Ghooric Zone on one of the moons of Yuggoth by a group of space-traveling sex-crazed cyborgs.
Finally, we would like to dedicate this album to Fire Hydrant 451 and One Hundred Years of Salad Two.
LINER NOTES:
Running Time: 60 minutes
- front cover album art courtesy of Erik Visser, embellished from a concept of James Champagne.
- back cover art Batrachia, by Ernst Haeckel, plate 68 from his 1904 book Kunstformen der Natur, modified by James Champagne.
- album title taken from Remy de Gourmont’s short story “The Shroud”, from the collection of his work called The Angels of Perversity: “Asleep, almost asleep in the shade of the dunes: there is no dress flapping in the wind. Amid the blackness of the stranded wrack a dream lay dead: a dream as white as the death of a seagull.”
- short story ‘Mauve Movies’ by James Champagne, 2008, written especially for this album, may be downloaded in PDF format here.
Orchestra 23: Intro, Intermission, Outro
“Surrealism is destructive, but it destroys only what it considers to be shackles limiting our vision.”
-SALVADOR DALI, Declaration, 1929
“Surrealism is destructive, but it destroys only what it considers to be shackles limiting our vision.”
-SALVADOR DALI, Declaration, 1929
The Cat Band: Goods in the Hood
“Goods in the Hood” is one of the only Cat Band songs that was ever recorded by digital means, on computer. It is also one of the only Cat Band songs to drop the F-bomb. The song was totally improvised one afternoon many years ago (possibly in 2000).
Tom Champagne: Vocals
Bill Champagne: Keyboards, Vocals
James Champagne: Pencil-tapping Percussion
Sypha Nadon: The Wish Wish Song
Composed of samples from András Jeles’ The Annunciation, Maya Deren’s Meshes of the Afternoon, Luis Buñuel’s L'Âge d'or, and Luigi Russolo’s intonarumori. “Wish Wish” sample and Wyoming Whippoorwill Wail courtesy of James Champagne.
The People’s Tongue: Staunch
How does the rabbit get those essential nutrients? She eats the cecotropes as they exit the anus. The rabbits blissful expression when she's engaging in cecotrophy (the ingestion of cecotropes) will tell you that she finds this anything but disgusting. In fact, rabbits deprived of their cecotropes will eventually succumb to malnutrition. Cecotropes are not feces. They are nutrient-packed dietary items essential to your companion rabbit's good health.
http://shane-movies.blogspot.com/
To Repel Ghosts: Blow
A student composer's life, if you will forgive us the generalization, can be divided into two periods: before they encounter Steve Reich's Come Out, and after. "Blow" is our way of acknowledging the debt and offering homage. While it lacks the methodological rigor and social relevance of its model, it enjoys the advantages of a) being somewhat shorter, and b) the enchanting voice of Lauren Bacall.
Serapeum: Fansystem
Serapeum is a artificial computer system embedded within certain orthographic spheres of reality and is also known as a timestation. The Serapeum timestation receives and
gathers audio fluctuations at crucial points along the gnostic meta axis of reality and
downloads these signals for further analysis and reality selection.
Nemerion scientists have figured out how open a Stargate to the backside of the universe. The Nemerion utilize a gnostic hyper nexus of oscillating sub oblations to catalyze certain topologies within the ontic net. For them to do this , they need sufficient aural power structures of Zomate within the earth grid. Serapeum is a audio-etheric station along the Zothryian nexus of the orthagonal grid system and therefore regulates any time machines with the Sub-Earth Axis. This super computer helps regulate and stabilize certain sub zero etheric vibrations from within the continuum of Univere B due to the Nemerion research cults.
Zyklon Vagina: The Creeping Sickness
“He was a broken man not only in mind, but in body. Let me tell you. In that island which I have not named there is a horrible disease called by the natives the Creeping Sickness. It is supposed to come from a poisonous place named the Black Belt, and a part of this Black Belt is near, too near, to the hacienda in which Juan sometimes lived.”
- Sax Rohmer, Bat-Wing
Bryce Clayton Eiman: Sex in Heaven
First off, unhear everything. That which I produce one could not call 'music' by any charitable extension of that term. Simply put, my work is a machine for displacing air. I fancy calling it Art, but I think that intention has less to do with pride than with indolence. They say you've got to draw the line somewhere, but I rarely draw the same line twice -- and most times not at all.
Thomas Moronic: Boulder Dash
"I was interested in the idea of routine, the effects it has on a person, the way a brain starts acting in certain ways because of it. I took sounds from a particular journey that I often have to take, and took sounds from it, the footsteps, the sound of my breath, the traffic, the people around me on public transport, my friends' voices and tried to warp them swap them around and see what the results were. It was more of a private investigation of sorts, informal personal research in a way. These are the results, one track from a series of pieces based around those ideas."
Moya Sestra: Spider Joe
"Hopeless of any weapon to repel
The loathsome, crawling danger, we embraced,
And kissed with silent kisses mixed with tears"
- Henry Abbey, The Giant Spider
This is not a cautionary tale.
Boy Destroyer: Wild Boys Remix
(Featuring guest performance from the blind idiot flute players of Azathoth)
Ray Pissed: (song concept/ideaology)
Isabelle Ducasse (noise/boy samples)
Sypha Nadon (beats)
“We intend to march on the police machine everywhere. We intend to destroy the police machine and all its records. We intend to destroy all dogmatic verbal systems. The family unit and its cancerous expansion into tribes, countries, nations we will eradicate at its vegetable roots. We don’t want to hear any more family talk, mother talk, father talk, cop talk, priest talk, country talk or party talk. To put it country simple we have heard enough bullshit. I am on my way from London to Tangier. In North Africa I will contact the wild-boy packs that range from the outskirts of Tangier to Timbuctu. Rotation and exchange is a keystone of the underground. I am bringing them modern weapons: laser guns, infra-sound installations, Deadly Orgone Radiation. I will learn their specialized skills and transfer wild-boy units to the Western cities…. I have a thousand faces and a thousand names. I am nobody I am everybody. I am me I am you. I am here there forward back in out. I stay everywhere I stay nowhere. I stay present I stay absent.”
- William S. Burroughs, The Wild Boys
(Featuring guest performance from the blind idiot flute players of Azathoth)
Ray Pissed: (song concept/ideaology)
Isabelle Ducasse (noise/boy samples)
Sypha Nadon (beats)
“We intend to march on the police machine everywhere. We intend to destroy the police machine and all its records. We intend to destroy all dogmatic verbal systems. The family unit and its cancerous expansion into tribes, countries, nations we will eradicate at its vegetable roots. We don’t want to hear any more family talk, mother talk, father talk, cop talk, priest talk, country talk or party talk. To put it country simple we have heard enough bullshit. I am on my way from London to Tangier. In North Africa I will contact the wild-boy packs that range from the outskirts of Tangier to Timbuctu. Rotation and exchange is a keystone of the underground. I am bringing them modern weapons: laser guns, infra-sound installations, Deadly Orgone Radiation. I will learn their specialized skills and transfer wild-boy units to the Western cities…. I have a thousand faces and a thousand names. I am nobody I am everybody. I am me I am you. I am here there forward back in out. I stay everywhere I stay nowhere. I stay present I stay absent.”
- William S. Burroughs, The Wild Boys
Sypha Nadon: The Mauve Zone
2. From the destruction of mind that gives birth to Chaos
3. A zone of mauve is created, a desert of sand above the Tunnels of Set. The winds hurry through them,
4. A sinister piping bearing the Beetle on its wings.
- Kenneth Grant, OKBISh: The Book of the Spider, section 11, verses 2-4
This song contains a recital of Kenneth Grant’s poem “Mauve Zone” as found in the book Convolvulus and other poems.
James Champagne: The Lord’s Prayer
“To be an alien, to be in exile, is the mark of Christian suffering.”
- Søren Kierkegaard
The official press release/launch party for the album may be seen here.
Text excerpt from the ‘Mauve Movies’ short story I wrote especially for the album:
----“It began with a title card with the words Votaries of Tuluruz in florid baroque lettering. However, that was the extent of the opening: no director, cast, or actors were credited. After the title card vanished abruptly I was treated to this opening image: a night sky illuminated by a crescent moon, a moon whose image was mirrored in a vast ocean below it, which made me think of a certain tarot card. At the very bottom of the shot was a cliff ledge that seemed to be populated by thousands of dandelions, swaying to the unheard music of nameless Aeons. The camera lingered on this setting for a few minutes, and the calmness of the ocean and the gentle swaying of the dandelions had a soothing effect on my delicate senses. Then the camera began to slowly focus in on the cliff ledge and the field of dandelions, moving closer and closer to it, and as it got closer to the ledge I was shocked to see that the dandelions were in fact women, thousands of them, utterly naked save for a large, odd-looking white diamond that each of them had strapped onto their heads like helmets. The women, who for the most part were young, large-breasted and Asiatic in appearance, were moving in a highly stylized, almost somnambulistic manner, their movements seemingly synchronized, like a flock of birds. I admired their nocturnal choreography, and at the same time was lulled into a further passive state by their liquid undulations, as if I were being hypnotized.
----For a few minutes the camera remained stationary, just basking in the visual splendor of the strange dance of these exotic women, who seemed to be the votaries of some bizarre unknown god. Then, the film cut to a close-up of one of the women’s vaginas. The woman’s hand appeared in the frame. She pulled open her vaginal lips and, to my horror, I watched as a vampire bat emerged from her opening, fully-formed. This was followed by many more shots of women enacting a similar act, though in some cases it was not a bat that emerged from the primal gash, but a toad, a beetle, a snake, and, in one instance, a black cat!
----I marveled at how realistic all of this seemed, and in the back of my mind I wondered who had done the film’s special effects. The film then cut to a close-up of the crescent moon. I watched as the bats that had emerged from the vaginas of the votaries began to fly in a massive leathery cloud towards the moon, vanishing somewhere in between the two points of the crescent shape. Suddenly, after the last bat had vanished, there was a brief flash, and then a creature of sorts appeared on the moon itself, resting on the lunar sanctuary as if it were a divan. The creature was amorphous and blob-like in appearance, with large slime-covered tentacles that dangled downwards towards the ocean below. Gigantic bloodshot eyes dotted the surface of the abnormality like oculi warts, and though it lacked a recognizable mouth I will say that from the mass there did emerge massive funnel-shaped devices, as if the skin of the monster were sprouting tornado acne.
----Then the moon tilted into a horizontal position, so that the points of the moon were pointing downwards, towards the Earth. The creature fell into the ocean, and to my surprise, there was no splash of water upon impact. For a minute, after it had vanished into the depths, all was calm. Then, with no warning, the creature burst forth from the ocean, only now it had transformed into a new shape. It resembled a gigantic bat of sorts, its round body covered in black fur, its leathery wingspan truly awesome to behold. However, instead of having a head, the creature’s face was located in the center of its furry body, and this face consisted of a massive eyeball that resembled that of a snake, and beneath this eyeball was a beak similar to that of a snow owl. Jutting out from the top of the creature’s body were two huge white antlers which seemed to rise into the sky for miles, and nestled in between these two antlers was a large rhinoceros horn. Instead of feet, the monster had three long slime-drenched tentacles dangling beneath its lower body.
----The winged monstrosity spread its wings and flew above the heads of the female votaries, who stared up at the creature in a state of awe which matched my own. The creature, now hovering in place above their heads, began flapping its wings in fast motion, like a hummingbird, and astral pollen began to drift downwards from its body like angelic snow, the pollen sticking to the bodies of the women. This seemed to drive them into a mental state of almost religious ecstasy. They began to dance again, however, whereas before their movements had been consistent and synchronized, a lush ballet of order, they now danced in a wild and chaotic fashion, a dance of derangement, harlots of hell performing a chaotic ritual. As the bat-winged monstrosity continued to bless them with its astral pollen (no doubt collected from whatever dank Sethian tunnel from the Tree of Death that this creature undoubtedly called home), the women began to wildly make love to each other in a mass Sapphic orgy.
----I watched all this as if I were in a hypnagogic trance, watched as the women grinded their naked bodies against one another. Some of the women merely kissed while rubbing their breasts against those of another woman, while others performed bestial cunnilingus on each other. As this sexual rite built its way towards a culminating orgasm, the winged eidolon’s flapping increased to such an extent so that its wings appeared to be almost invisible, that’s how fast they were beating. Soon the bodies of the women on the cliff below it were completely covered in the astral pollen, so that their sexual ecstasies resembled the writhing of a gigantic garden of white maggots. Eventually, the women rose up, only now, underneath the cover of the pollen, they had undergone a transformation much like that of the creature from the moon. Whereas previously they had been human, now they resembled gigantic grasshoppers, six feet in length, only instead of antennae their heads were adorned with deer antlers, and on their backs were big angel wings composed of black feathers, wings that had been stitched with sorrow.
----I watched as the daemonic grasshopper-women began to beat their wings and fly off the cliff, towards the upside-down topsy-turvy moon from which the vaginal bats had vanished earlier. As they flew into the space between the two crescent points of the moon, they also vanished. Once their exodus was complete, the winged monster who was their dark god followed, and it also vanished in the space between the points (by this point I had realized that the creature’s name was Tuluruz). The moon then swung back into its regular vertical position. The film ended with one last lingering shot of the now familiar tableaux: the horned moon, the night sky, the sea, and the cliff ledge, which was now utterly deserted. Then the screen suddenly went blank, the mauve curtains that had concealed it before whooshed shut to block it, and the lights in the auditorium grew bright. Above me, I heard the projector whir shut. The movie was over.”
Preliminary plans for the ultimate Mauve Zone Recordings HQ
It should be located in the remains of an abandoned insane asylum, preferably one modeled after the Kirkbride plan, looking very much like the Buffalo State Hospital for the Insane in New York, as it looked when it opened in 1890. The administration building would serve as the main area, while the cells of the east and west wings could serve as guest lodging. The exterior of the asylum would be decorated with gargoyles similar to the ones that are located at the cathedral of Notre Dame and also in Gotham City. In the main building there would be a lobby with red and black curtains on the walls and red and black floor tiles. There would be an ornate dining room, along with a kitchen. There would be a library full of worm-eaten and forbidden occult tomes, including the Necronomicon, The Booke of Calthurr, and The Book of Ezaba. There would be an art gallery (featuring the works of Odilon Redon, Leonora Carrington, Max Ernst, and other noted Symbolist/Dada/Surrealist artists). There would be a recording studio, and an office for Arthur Limbo. There would be some very clean and state-of-the-art restrooms, modeled after those that appear in Japan (the Japanese have some of the most technologically advanced restrooms in the world). The basement would house a crypt and also a mad scientist laboratory, complete with giant demonic-looking Van de Graaff generators. The second floor of the main building would house Arthur Limbo’s master bedroom, a movie theater, and a room for magical rituals to take place, modeled after the one that Kenneth Grant’s New Isis Lodge used in London in between the years 1955-1962. There would be a hunchbacked butler, and security would be provided by men and women wearing mauve-colored trench coats and gargoyle masks. This asylum would be located in the middle of nowhere in the forests of New England, surrounded by swampland, ancient crumbling cemeteries and haunted houses, deserted gothic churches, etc. The area surrounding the asylum would be populated by both Typhonic beasts and also animals associated with the Typhonian mysteries: cats, snakes, spiders, crabs, goats, pigs, vampire bats, alligators, hippopotamuses, frogs, toads, whippoorwills, astral larvae, lizards, owls, hyenas, moths, vultures, doves, octopi, squids, cephalous, beetles, vampires, nosferati, and all sorts of magical insects. Trees would include the mangrove, the ash, the cypress, the elm, the yew (these are the flora of the Great Old Ones, trees of darkness).
Upcoming
Website
_______
www.thedarktentacle.com
(work in progress)
Links
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(the official Internet Archive page for Mauve Zone Recordings)
(the official Mauve Zone Recordings blog)
(the official Internet Archive page for This Plague of Dreaming)
(The Sypha Nadon MySpace page)
(the Boy Destroyer MySpace page)
(the Bryce Clayton Eiman MySpace page)
(the People’s Tongue MySpace page)
(Thomas Moronic’s MySpace page)
(To Repel Ghost’s MySpace page)
(Serapeum’s MySpace page)
(Erik Visser’s blog)
Image may be NSFW.
Clik here to view.
Thank you Dennis for letting me do this day for your blog, and also to anyone on here who has downloaded and listened to MZR audio artifacts in the past!
----
*
p.s. Hey. This amazing post circa 2008 is so historic that d.l. and guest-host Sypha was still going by the more picturesque moniker SYpHA_69 at the time. It's an incredible thing, as you have probably already realized. Have fun. Nobody seems to have noticed that there wasn't a new post here yesterday, but, if anyone out there did and wondered why, there was in fact a post scheduled -- a Claude Ollier Day, to be precise -- with a full-fledged p.s. even, as yesterday happened to leave me with a morning free enough to blab with you, but said post somehow deleted rather than launched itself at the appointed time. I'm in Oslo, if you're curious.