02. Grand sabbat luciferien (régime des arches) (4:11)
03. Rituel de guerre des esprits de la terre (5:37)
04. Cris pour les sabbats infernaux et invocations des daimons (1:54)
05. Office de la levee du corps (De Profundis) (5:26)
06. Amenthi (attente de la seconde mort) (9:46)
07. Aurore (2:37)
Igor Wakhevitch/Keyboards, Synthesizing, Vocals
Ensemble Polyphonique , Guy Boyer , Michel Estellet-Brun , Le Groupe "Pachacamac"
This is a strange beast to say the least, and should probably be approached with caution. I mean, it feels like two different albums decided to work together, and out of this rather peculiar meeting came the weird and schizophrenic anomaly: Hathor.
Hathor was the Egyptian goddess of love, music and beauty - and bearing that in mind - projecting images of pyramids, solar devotion, high priests, magic and wonder, - then this album just might work for you, because most people will probably need some kind of help getting through the mystical and slightly avant garde world of Igor Wakhevitch.
This album is two faced like I said earlier, and on one hand you´ve got a hypnotic and trance inducing electronic Zeuhl music, that reminds me of both Art Zoyd´s Berlin and Popol Vuh´s In den Gärten Pharaos. You know that staccato and tribal percussion - building and building, sounding like music should to a 20th century Indian Shaman - accompanied by some spooky frog-like synthwork that jumps rhythmically every now and again. -On the other hand half of this album contains what can only be described as an evil ritualistic mass - done with electronics and various ominous sounding choir voices. These shift from deep bellowing chanting monks to operatic and dramatic sequences as well as spoken word poetry and whispering voices casting long forgotten spells.
Doctor Jekyll and Mr. Hyde you say? Not entirely, but the outer extremes of both these sonic personalities are thankfully interwoven in Wakhevitch´s completely original way of creating atmospheres through electronics. All the pieces are soaked in all kinds of synths and moogs, but you certainly won´t hear a keyboard solo - what he does is more like laying down a foundation of brooding and evocative surfaces - sounding like he´s summoning magic overhead the majestic presence of the Sphinx. At other times he merely adds colour and juice to the tracks through noises and bleeps, which range from underground moog burps to what sounds like electronic frantic grasshoppers, cockroaches and buzzing robotic flies - all weaving about in ecstasy.
I was listening to this during a power cut just an hour ago, and I finally saw the light inside my darkened apartment. The goddess of love didn´t exactly descend from her solar empire, but I did imagine all these wonderful images of an Egyptian death mass from the insides of a holy temple of stone with beautiful brown women wearing gold - moving like serpents, High priestesses with red feline eyes and a large gathering of devotional followers all chanting along with the powerful electronic orchestra banging away to the far right of the enormous altar of Hathor.