Tracklist
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#1 Faith's Broken Mirror
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#2 Sophia's Theme
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#3 What's Wrong with Cytherea?
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#4 Mourning In Ekstasis
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#5 He Hates Us
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#6 Psychism 1: Cytherea's Possession
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#7 Love Spell
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#8 Agenda 21
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#9 Subcutaneous Solution
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#10 Abyss Of Psychic Enchantments
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#11 Subdermal Sequence (Nano-Correction)
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#12 RFID Slaverider
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#13 Dionysian Dithyramb (Eros-seed of the Egregore)
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#14 Zombievision
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#15 Perfectly Reasonable
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#16 Psychism 2: Fear Is The Great Teacher
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#17 Abolish Believers By Abolishing Belief
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#18 Funeral for What Might Have Been (Sophia's Theme)
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#19 Codex Alimentarius
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#20 Putting Forth The Hand To Take
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#21 Psychism 3: Sow The Wind, Reap The Whirlwind
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#22 Hypnotopia (Obey Your Passion)
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#23 Nano-correction / Human Migrations / Faith Realizes
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#24 Chapel By The Sea (A Heart That Is Broken And Humbled...)
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#25 The Strength To Sever
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#26 Baby Hedone (Harvest Of The Egregore)
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#27 Zombievision 2012
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#28 The Great Die Off (He Mocks Us All)
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#29 Cytherea's Awakening / Martyrdom at Romiou Point / Return to the Foam
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#30 To Love God Is Sweeter than Life (Sophia's Theme)
Secret Chiefs 3 / Traditionalists / Le Mani Destre Recise Degli Ultimi Uomini
Web Of Mimicry
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From out of nowhere, Secret Chiefs 3 (operating here as Traditionalists, one of the seven satellite bands introduced on their Book of Horizons album) present an elaborate colonna sonora paranoica: original compositions that were dreamt up in the harmonic language of the Giallo Horror Film Soundtrack--a particular subgenre of B-movie with remarkable scores by Italian masters such as Bruna Nicolai, Stelvio Cipriani, Ennio Morricone, Goblin, Pierro Piccioni, etc. Le Mani Destre Recise Degli Ultimi Uomini employs a full orchestral score that capitalizes on the Chiefs' stock manpower (Trey Spruance, Ches Smith, Timb Harris, Shahzad Ismaily, William Winant, etc.) and adds to it a broad cast of A-list hired musicians (among them Laurie Goldstein, Hans Teuber, et al.). Dissonant, violent strings recede into beautiful textures with flute and female vocals through echoplex; analog synthesizers, harpsichords, and celestas hover above a tight, '70s-style rock band rhythm section; crazed psychedelic freakouts payoff majorly; church organs grant repose, until tape treatments and a shrieking chorus of possessed voices force the listener to reconsider his or her position on the existence of Evil. The entire project, as one might expect from this band, is a spiralling allegory that extends itself well-beyond its cliched starting-point as a "soundtrack for a non-existent film." The film is imagined, but the horror is real.
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