The dead ride so fast
| It ride the dead so fast | ||||
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| Studio album by Sopor Aeternus | ||||
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Publication |
2003 |
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| Label (s) | Apocalyptic Vision ( Trisol Music Group ) | |||
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Format (s) |
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Title (number) |
15th |
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running time |
65:33 |
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The dead ride so fast (or: the Vampyre sucking at his own Vein) ( en : or: The Vampire who sucks on his own vein ) is the title of an album by Sopor Aeternus . This is musical material that was created in 1988 and published in 1989 on a tape of the same name limited to 50 copies. It was reworked in September and October 2002 at Woodbine Studio in Leamington Spa and published in 2003 by Apocalyptic Vision . An A5-format CD book edition with an edition of 1999 copies and a double LP edition with an edition of 666 copies were available. On September 24, 2004, the album was re-released on the black market because of many plagiarism . The texts are in English. Varney included a translation with the 2004 rereleases.
content
The dead are ill in the garden of the night. Every soul is hungry . Neither heaven nor hell want to accept them. Her immortality plagues her.
Against this backdrop, the listener is asked the central question of the album: Would you offer your neck to the undead? At least secretly in the safety of your thoughts?
“Here is my neck,” it says two songs later in the Baptisma, which changes perspective many times. Beginning with an inconspicuous bass motif that condenses with a quiet snare rhythm after a death knell, the protagonist steps in front of his vampire. A three-bar dance-like plucking motif of the strings comments on the plot. “Look how much he urges to be yours.” In front of two alternating recessed tones every second, a passage from the Dance of Cruelty ( Sous le soleil de Saturne ) is recited which expresses a deep longing for death. The second iteration of the cello flows into a third. A drum kit doubles the timing. “I want to be colder even than stone,” says the protagonist, while the music conveys a contrasting tension and euphoria.
Following is The Feast of Blood : Soon the first victims of the new vampire to be found. Murder and the passion for killing are iconized in a never-ending festival of blood.
In Sopor Fratem Mortis est ( Lat : sleep is the brother of death), the omen Sinistrum is repeated both at the beginning and at the end . The undead lament the suffering of their eternity and the recurring feast of blood.
The following track, Dreadfull Mirror , is central according to Varney and is therefore right in the middle of the album.
“It embodies the epitome of denial par excellence: the fearful, downright horrified panic rejection of exactly that aspect that would be the actual salvation - liberation. The tragic thing here is that the instruments of liberation are in fact named exactly at the moment of rejection, which suggests the assumption that the unconscious, repressed part of the being has the potential. Has actually recognized salvation as such, but was unable to assert itself against the all-consuming fear. Of course, this is also not the first time that fear has triumphed, and so the real horror and its repression are always fed anew. The cycle remains unchanged, the wheel continues to turn incessantly, and the poor being remains bound on its eternally same path ... - like on a big 8, which is therefore also the number of this piece. "
Holy Water Moonlight explains this aspect, which initially vibrates subtly in the pieces: I fear my own downfall ... - The end of all things and everything .
After this explanation comes the question of whether one wants to offer one's neck to the dead. Here, however, with calm and 'knowing' music and only in a simple repetition.
Across the river represents a warning. A protagonist wakes up and his flesh loosens slice by slice from his body. He says he was crucified with nails in hand and foot. The text mockingly comments that he also has nails in his eyes and that one should not let him in under any circumstances, since he knew exactly where he was.
photography
The work is illustrated with 26 digitally revised black and white files for which Varney was the model. The composition is based on the Japanese Butoh dance. Recurring motifs are a black crown, a black toggle and a gray linen robe as well as various jewelry. Furthermore, Varney's eyes are either always closed or without a pupil. The picture was taken inside a wall. Varney's genitals were subsequently removed.
Reviews
“Hardly any other artist has managed to create works that are so haunting, oppressive and equally fascinating as Anna-Varney. She has never made it easy for the listener, although I am of the opinion that an open ear (heart) would have been enough often enough to better understand her and her work. "
"Without exaggeration, the current photos of you are breathtaking (again)."
“In addition to the ever ubiquitous Soporian leitmotif of death, 'birth' and 'new development' seem to be of great importance ... Baptism, the diabolical imagery of birth or even the title Infante seem at first glance to be a very clear language to speak."
Trivia
- Angizia picks up themes from the album in Ein Toter Gern Gern Ringelspiel with a song of the same name.
Track list
- Omen Sinistrum - 2:46
- Dead Souls - 7:04
- Stake of my Soul - 3:01
- Beautiful Thorn - 5:14
- Baptism - 6:37
- The Feast of Blood - 3:35
- Sopor Fratrem Mortis Est - 5:33
- The Dreadful Mirror - 5:53
- Reprise - 3:41
- Birth - Fiendish Figuration - 2:52
- Penance & Pain - 4:26
- Holy Water Moonlight - 5:11
- Infant - 0:51
- Across the river - 2:04
- Dark Delight - 6:43
literature
- Interview. ( Memento from June 29, 2007 in the Internet Archive ) In: Orkus , January 2003
- Interview. In: Gothicworld , February 2003
- Interview. In: Dark Entries Magazine , No. 43, May 2003 (English)
- Review. In: Gothicworld , February 2003
Web links
Individual evidence
- ↑ Interview ( memento of June 29, 2007 in the Internet Archive ) in Orkus , January 2003