Brethren, as it is.
On this day, December 21, 2012, SABBATH ASSEMBLY, in representation of the Process Church of the Final Judgment, is proud to announce THE END.
“The Process is the End; the Final Ending of the world of men. It is the agent of the End, the instrument of the End and the inexorable Power of the End.”
-Robert De Grimston, 1967
www.sabbathassembly.com, designed by Karla Lemus, launches today, offering an unprecedented collection of hymns, teachings, and prayers of the Process Church – an Apocalyptic, Gnostic Church active in the ’60s and ’70s that espoused the peculiar theology of worshiping Christ and Satan, Lucifer and Jehovah. Also available are links to the music of SABBATH ASSEMBLY, who perform the hymns of this mysterious Church, as well as upcoming live dates of the band, which include:
“The Unification Tour” EUROPE 2013
10.4.2013 Turku, FI – Klubi
11.04.2013 Helsinki, FI – Kuudes Linja,
12.04.2013 Oulu, FI – Nuclear Nightclub
13.04.2013 Jyväskylä, FI – Lutakko
15.04.2013 Warshaw, PL – Harenda
16.04.2013 TBA. PL
17.04.2013 Hamburg, GER – Hafenklang
18.04.2013 Berlin, GER – Cassiopeia,
19.04.2013 Tilburg, NL – Roadburn Festival
ChiarAlice Lorenzini of Milano, Italy, has directed a new visual adaptation of the song “We Come From the One” from SABBATH ASSEMBLY‘s latest album, “Ye Are Gods”, released in September by SVART and THE AJNA OFFENSIVE. The video pairs the liturgical text of the Process Church with the pure magic ritual energy of the 1907 film Le Spectre Rouge, and can be viewed here:
So be it!
Label : Nuclear Blast Records
Review by Tony Cannella
Several years ago the members of the virtuoso Italian metal band Rhapsody found themselves in a unique situation. The band – rather amicably – split into two factions with one half going on to be known as Rhapsody of Fire and the other side (this one) being led by guitarist Luca Turilli and being known (cleverly enough) as Luca Turilli’s Rhapsody. While Rhapsody of Fire has already gone on to release several albums, “Ascending to Infinity” is the debut from Luca Turilli’s band. With this album Luca Turilli’s Rhapsody continues on the path of cinematic metal and brings it to a whole new level. Every song on “Ascending to Infinity” sounds like it could be the sound track to some epic movie. The scope of the music is so huge, ambitious and majestic. Luca Turilli’s Rhapsody is not female fronted. Their lead singer Alessandro Conti does a competent job throughout the disc and has the perfect style to go along with enormity of the material – he’s also got quite the vocal range. “Ascending to Infinity” includes some songs with choir-like backing vocals and some female vocals as well. Some of the highlights are: “Dante’s Inferno”, the 8-minute “Excalibur” and the 16-minute “Of Michael the Archangel and Lucifer’s Fall” which is divided into three parts and is quite the epic to close things out. Another favorite is the slower tempo song “Luna” which features a female singing some of the lead parts. This song is interesting in that the female parts are sung in English and the male vocals are in Italian. If you are already a fan of Rhapsody than you should love “Ascending to Infinity”, if you are not a fan of this band however than it probably won’t win you over. Nevertheless, “Ascending to Infinity” is a huge sounding record that should further cement their reputation as purveyors of ‘cinematic metal’.
Rating – 75/100
- Quantum X
- Ascending to Infinity
- Dante’s Inferno
- Tormento e Passione
- Dark Fate of Atlantis
- Clash of the Titans
- Of Michael the Archangel and Lucifer’s Fall (I. In Profundis, II. Fatum Mortalis, III. Ignis Divinis)
- Alessandro Conti – Vocals
- Luca Turilli – Lead Guitars and Keyboards
- Dominique Leurquin – Lead and Rhythm Guitars
- Patrice Guers – Bass
- Alex Landenburg – Drums
Interview by Alessandra Cognetta
If you’ve never heard about them, this is a good chance to get to know more about Sabbath Assembly, a daring musical project that focuses its works on the hymns and texts of the Process Church (which we’re talking about right below). Their second album “Ye Are Gods” has just been released by Svart Recods and Ajna Offensive and we had the privilege to speak with mastermind Dave “Christian” Nuss and vocalist Jamie Myers about the new album and much, much more.
Hello and welcome to Femme Metal! It’s a pleasure to have you both here. Sabbath Assembly‘s upcoming album “Ye Are Gods” will be released in a few days, how are you and how do you feel during such an important phase?
Jamie: Terribly excited!
Dave: We are excited and grateful for the opportunity to share this music with the world.
How would you describe “Ye Are Gods” to someone who still hasn’t had the chance to listen to it?
Dave: “Ye Are Gods” presents hymns and liturgical text of the Process Church of the Final Judgment, a religious movement that began in the UK in the 1960′s. These are prayers and praise songs to the four major deities in Western religion: Christ, Satan, Lucifer and Jehovah. The album brings the listener through a cycle of spiritual death and resurrection.
There are a lot of guests on the album, with Genesis P-Orridge voicing the Sacrifist, Eyving Kang playing viola on “Declaration of Gods” and Imaad Wasif delivering a stunning performance on “We Give Our Lives”. How were these collaborations born?
Dave: The project seems to attract a wide range of occult thinkers and performers, and we welcome this opportunity to bring many voices to the recordings. Genesis came on board via Feral House Books, who supported our first album and subsequently recommended Gen to the project. Imaad was part of the very first incarnation of Sabbath Assembly and was recommended by the publisher of Timothy Wyllie’s book about the Process, to be discussed further below.
Jamie, let’s talk a bit about your involvement with the new album. What was your approach on Sabbath Assembly‘s music (previous works included), and how much did you participate in the creation process?
Jamie: When Dave first approached me about the project we had many discussions about which direction to take the new material in. He was extremely open to new ideas and graciously allowed me the room to explore the music in my own way. Especially when it came to reinterpreting the hymns from a vocal standpoint. It was important to me that I approach the melodies and harmonies with a level of creativity that satisfied me, while still maintaining the authenticity of the original hymns. Dave and I seemed to bounce ideas off of one another with a certain amount of ease and I was appreciative of the freedom to experiment with “Ye are Gods”. Nothing felt overly planned. There was good chemistry and the spontaneity just flowed.
It almost seems like you recorded the album as one whole piece, I admit I had to check a few times to see what track I was listening to. Was it in your plans to give the album this sense of, if I may say so, “unity” (integrity?), or was it a natural development of the writing process?
Dave: The album follows the structure and format of the Process’ “Sabbath Assembly” liturgy. Our task was to blend together text and hymn in such a way that a rock album was made, rather than simply a document of a Church recording. We tried this more documentarian approach at first, and the results fell flat. Our hope is that the story of the liturgy is well-conveyed through the final result of weaving prayers and hymns into and through each other. The credit for the narrative flow must go to the writers of the Mass.
What drew you towards the Process Church in the first place? How did you find out about it and why did it catch your interest to the point that you decided to base your musical production on it?
Dave: In Timothy Wyllie’s book “LOVE SEX FEAR DEATH”, there are several reproductions of sheet music in with the photos and propaganda of the Church. These immediately caught my eye, and in particular one called, “Christ and Satan Joined in Unity.” For some years I had been light-heartedly referring to myself as a ‘Christian Satanist’ — I just felt I could sympathize with both sides — and here was a hymn that was singing about this exact concept. It was a great moment of synchronicity; and thus a plan was hatched to bring these hymns into the world.
Your music is (please, correct me if I’m wrong) at present the only recorded version available of the hymns. Do you consider this a burden, a responsibility, or a pleasure, being able to spread Processean theology?
Dave: These are the only recordings of the hymns, and we do feel a great honor and responsibility in bringing them into the world. We’ve had many discussions in the arranging process about the question of authenticity. In the final analysis, Sabbath Assembly are interpreters, not historians. On the first album we printed the sheet music for two hymns in the cd booklet of the EU tour version, and on this album we print sheet music for 8 hymns, in both the LP and CD. Part of the intention behind this is to express that Sabbath Assembly does not hold any exclusive right on singing and recording this music; and others, should they feel inspired, can also participate in this movement. This is one reason we try to keep the focus of Sabbath Assembly as much as possible away from the personalities of the band; it’s the message that’s important, not the members.
The song “In The Time of Abaddon II” features words from the “Discourse of Abaddon” by Timothy I of Alexandria (Bishop of Alexandria between 378 and 384) and is the first track from “Ye Are Gods” to get a – very suggestive – music video. Why did you choose to implement part of this scroll and how is it linked to the Processean main theme of the album?
Dave: The first album has a song called “In the Time of Abaddon”, so in the wake of performing that tune we embarked on some research into the myth and story Abaddon, the Angel of Death, and discovered the “Discourse”. In terms of the album sequence, the song follows the hymn “Christ, You Bring the End”, for Abaddon is the creature you meet at your “End”; he frightens your corpse with his hideous appearance so that you willingly give your soul to God. “Abaddon II” is actually not a Processean hymn but one we wrote ourselves because we wanted a moment with a particularly dark feel, and honestly most of the Process hymns are fairly joyful. On a deeper level, the “Discourse” presents an ambiguous portrayal of Abaddon and his interaction with Jehovah that leaves the reader wondering who’s actually the “evil” one in the story. This moral complexity of what is “evil” and what is “good” also fits well with Processean ideas.
Jamie, what brought you to Sabbath Assembly? You performed with Hammers of Misfortune and Wolves in the Throne Room before joining forces with Dave, how would you describe these three phases of your career?
Jamie: I started out in music like many of my peers. I tagged along with my older sibling to a ton of metal shows and spent a lot of my youth going to DIY shows and playing in punk/hardcore bands. All the while, seeking out and listening to any interesting bit of music I could find. I would scour the dusty record bins at second hand stores for anything metal, punk, deathrock, even old country. It didn’t stop there either, I made it my mission to seek out every prog rock gem I could get my hands on. So when the offer to play bass and sing for Hammers was laid on the table I snatched it up. I couldn’t pass up the opportunity to play music that was influenced by some of my favorite musical genres. The level of musicianship that the members of Hammers had was unlike any other project I had been a part of. It really pushed me to better myself as a bass player and vocalist. My involvement with Wolves followed some shows that Hammers had played with them. I had a strong connection with the Weaver brothers and could tell that those guys were on the brink of something great. So when they asked me to work with them I happily obliged. In a round about way, performances with those two bands are what led to my involvement with Sabbath Assembly. Dave and I were familiar with each other’s music and had come from similar backgrounds so it wasn’t a stretch for the two of us to collaborate.
Timothy Wyllie (an original Process Church member) is featured on “Transcendence”, his voice delivering words from “Gods on War” by Process Church founder Robert DeGrimston. Why did you decide to seek him out and what where his thoughts on Sabbath Assembly?
Dave: For the album sequence we needed a moment following the apocalyptic “Abaddon” to bridge us into the redemptive tale that is the last track, “The Love of the Gods”. Timothy‘s homily about “the new beginning” that follows every death is absolutely inspiring. He has been a part of Sabbath Assembly since the beginning of the band, actually, as he and I and his book publisher, Jodi Willie, hatched the idea of the project together at a Book Expo in NYC that presented his book about the Process. Since then he has been a great support.
Have you ever received any particular or unusual critics or comments regarding your music?
Dave: We saw recently that a critic tore apart the last track on our album, “Love of the Gods” because of the positive vibes. It is important for people to know that while the Process did dress in black and preach about the Apocalypse, they also spoke with great joy of the inevitable reconciliation that awaits those who can unify good and evil in their lives — the Phoenix rising from the ashes. In some circles it’s more acceptable to sing about death, and in others it’s more acceptable to sing about life; Sabbath Assembly needs to do both.
Dave, I’ve read that playing drums and listening to rock music caused you some troubles in the past, to use an euphemism. It’s no secret that religion isn’t very fond of metal music. I’m Catholic and live in Italy, and I’d be redundant if I described the poor situation we’re in, “metal-wise”. Do you think there is a way to reach a sort of reconciliation, or maybe there’s already some form of mutual understanding and we just can’t see it (because having something to whine about is more entertaining)?
Dave: I really feel that what the Process teaches is a gateway for the future of Metal. We passed through the Satanic thrash of the 80s and the Church-burning black metal of the 90s. Karmically these steps needed to happen because of the history of the Christian Church and the repressive and destructive steps it took to control the darkness. Darkness of course can’t be controlled or repressed; it is always there, even if you can’t feel it for one moment it is waiting to resurface. So repressing is not the key as much as managing. In this regard, an explosive Satanic Weremacht may not be what the world needs today as much as a more balanced approach. I don’t mean that stylistically music needs to become as tonal and folky as Sabbath Assembly at all, I just mean that thematically bands could potentially work more with the idea of balance. While the metal scene seems to be accepting of bands like us, we can imagine that — MAYBE — in about 1000 years, the Catholic Church will begin to acknowledge the wisdom in this approach.
What can we expect from Sabbath Assembly in the future? Will you still draw inspirations from the Process Church or do you intend to explore new paths?
Dave: There are still many more hymns and texts to explore within the Process Church, so as of now the plan is to continue sharing the depths of their theology as it is revealed to us over time.
That’s it! Thank you both for taking the time to answer our questions. This is the “write whatever you want” space, so feel free to leave a message to fans and readers. We hope to see you soon on the road!
Dave & Jamie: Yes – see you on tour in Spring 2013!
Interview by Connie Bach
Raven Tide offers an energizing, yet soothing blend of driving guitars with a strong bass line, and balanced orchestra. The result is dark, warm, dreamy, and flowing.
Hello, Cheryl. “Ever Rain” is an awesome EP. I can’t wait to check out the new album.
Hi Connie! I’m very glad that you gave me the chance to talk about raven tide and it’s awesome to hear such good words about our songs!
What’s going on with the band these days?
Good question Connie!! This is a very intensive period for us. We’re trying to find the better way to promote “Ever Rain”, choosing few but relevant events where we can show what raven tide really is. We’re also working for new songs and our days are full of studio sessions and writing. It’s not easy, in fact, to spend energies in the right way, especially when you have so much to do in so little time!!!
Raven Tide has been featured on several compilations. “Doom Revealed” will appear on “Beauty and Brutality” and “Lucifer Bliss” appears on “Rock for Haiti”. I love the charity aspects to these two compilations. What made Raven Tide decide to contribute?
It’s wonderful. I think the idea of creating compilations of good music and use the cash to charity is a wonderful initiative. In fact, you get a double benefit. For the bands is certainly an excellent opportunity for visibility and expression, while using the music and its power, you bring more people to a social problem, making them participate by simply listening to a song.
in the past we have often thought of organizing lives and events for a charitable purpose but it is not easy for band to be able to set up this type of event…so when the opportunity to participate in this initiative came, we didn’t think twice!! Especially when it comes to a quality product like “Beauty and Brutality”.
Raven Tide is such a young band, yet has such a polished sound. What brought the members and their various skills, together?
Indeed, although the moniker Raven Tide is dated 2009, all of us for many years were part of a previous musical project, a tribute band that has enabled us to acquire over time a deep musical and personal understanding and improving through long live experience. Over time, of course, came the need to express ourselves with original music and create something where everyone could put their ideas and influences.
Turning to the recent release of your EP, it is a lovely taste of what is to come in the future. The name Ever Rain suits it. Where did the name come from?
Ever Rain was, in truth, the first moniker of the band, replaced with Raven Tide for reasons of homonymy with another band. After this, we decided to use it anyway, as the title of our first EP, maintaining continuity with our first idea. The reason for both names is, however, to evoke a particular image that remains a feature of all our work.
MySpace says that “Ever Rain” is a preview of a full-length album in the works. Why did the band decide to release a “preview”? I love when bands do that, it is kind of like the smell of baking before the bread comes out of the oven.
To be honest, we’ve never thought of “Ever Rain” as a preview…. it was simply a demo cd to present what we are. Then, he started receiving more and more confirmations becoming an EP and with the precious support of our promotion agency (Alkemist Fanatix Europe) was distributed in most of Europe and the major online music sites overseas. It was a good surprise!
I love the song “Lucifer Bliss”. What is the story behind the lyrics?
The message of “Lucifer Bliss” is that everyone in this life hae to face bad moments and suffering and sometimes, when the pain get deeper, there’s an instant in which we wish to get heartless and we’re tempted to lose ourselves denying the good we have inside. I guess is another way to describe the fragile nature of humanity, and the constant danger to fall down to Lucifer. Especially in these violent days, it seems easier for us to forget what’s important in our existances. Sometimes lucifer may seem enchanting but if we look inside ourselves, love is always the better way… How did it come about that you and Joe Bardazzi worked together? His growls and clean vocals are demonic in feel, perfect for “Lucifer Bliss”.
This sounds like “the answer is in the question” Connie!! Since the writing of this song, Lucifer was a sort of dialogue between good and evil. We were looking for a voice that was deep and strong enough to play the “lord of night” part. So, during a live show in a pub of our town, we listened Joe’s performance and we just undesrtood he was perfect! We talked with him right that night and he was immediately ready to go! Amazing!
“Stillness” is purely orchestral and is a nice opening. Why did Raven Tide decide to include a bag pipe solo in this song?
It gives it a lovely celtic feel. We really think that bagpipe sounds are extremely powerful and absolutely perfect for an “ouverture”. “Stillness” in a sort of hymn, where we’ve tried to mix our gothic inluences with the idea we have to create something new using electro samples and movies soundtrak effects. We’re really happy you like it!! I have the feeling that live shows are pretty explosive. What is one experience you will carry with you from performing for the rest of your time?
Well…thinking about it, I can’t really say which of my live shows I will carry with me forever…
each one have won a special place in my heart, ‘ cause everytime there’s a different mix of sensations and everytime you get back home with a different vision…
What I know is that I’ve always done my best to reach the heart of people, no matter if i was on a little stage of a little town or in front of the crowd of a great location.
I must admit that I’ll always remember our shows at Alcatraz in Milan. We performed there before Raven Tide’s birth with the tribute band and it was exciting, I was scared to death before my entry on stage!!! Now i’d be very happy to back there and present Raven Tide…who knows??? Where is the one place you dream of performing at? What makes it special in your mind?
Oh …I really adore big festivals like Rock Am Ring, Wacken etc…
I think it’s a common dream for rockers to sing in front of such a crowd but personally I also think that nothing is more evocative than an acoustic set with an elegant design, soft lights and contact with the people. We’ll try to provide both experiences with our music, just keep on follow us!!!
I’ve always been music addicted. I’ve always “needed” music. At fourteen I completed piano and composition studies privately, then i’ve been part of a poliphonic choir as half soprano for 8 years. During that period i’ve always had experiences in rock bands, as singer or playing piano then it came the tribute band and finally… Raven Tide.
“Ever Rain” brings amazing images to mind. I’d like everyone in the band to contribute to this one if possible. What is the symbolic value of music? Why is it so valuable?
I think it is undeniable that music is an indispensable element in the lives of everyone. It’s like a constant soundtrack that follows us even if we don’t pay attention or are busy in our business. It has the great power to communicate with our intimate and it does so without barriers, nothing can stop it. I think this is the great magic of music.
Shark: Hello Connie, is a pleasure to talk with you! Well, I agree with Cheryl about the importance of music, personally I could not think of my life without music, is simply a great form of expression, perhaps the most universal.
Mark: …and even more understandable. Only listening it can give strong emotions but even more amazing is when you can create music!
Fred: …especially when you realize that what you wanted to convey through your work came straight to the heart of someone. This is fantastic.
“Ever Rain” is a great taste of what is to come and I’m definitely excited. Cheryl, thanks for your time. It’s been wonderful talking with you.
Thank you so much for this special occasion Connie!! It was great to share with you part of our world! Thanks to femme metal for the wonderful work and for believing in us! The Raven Tides promise you all big news shortly! Keep on following us and…stay metal!!!
Style switcher only on this demo version. Theme styles can be changed from Options page.
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