Brand new, hot off the presses, article up at my website!
As yall know, I love it when the world of industrial music and sword and sandal collide and I jump on any chance to write about them. Twenty years ago the industrial-ambient-experimental compilation XII Caesars was released. An opportunity presented itself to interview both Post Scriptvm and Murderous Vision, so I leapt on it and churned out this retrospective of the compilation. Some great insight from both projects – please check it out here!
Tracie May-Wagner in Passion and Romance: Double or Nothing (prod. by Alain Siritzky)
I’ve also started annotating Emmanuelle scholarship and posting it here at my website so other scholars have a nice bibliographic resource. The bibliography and annotations can be found here and it is a major WIP.
Miscellaneous Tidbits
Michele on the Fan2Fan Podcast
Michele recently appeared on a two-parter episode for the Fan2Fan Podcast to talk about the City Symphony genre of silent films.
Awen returns to New York after 17 years! There will be an intimate concert in Brooklyn on May 5th with Murderous Vision and Autumn Brigade. This will likely be the only Awen concert this year, in celebration of the new album This World And Its Spirits!
Tickets are available now in limited numbers and it’s recommended that you not wait too long, as the venue has limited capacity.
I’ve done a couple of articles about Awen before that I need to migrate to this website. You can find my review of their album, The Hollow in the Stone, at this link.
Twenty years ago can seem like ancient history when looking at both pop and underground culture, a feeling that becomes compounded when a textual artifact from the past is an examination of ancient history proper. Industrial music typically does not dive into the world of antiquity, (usually staying in the realm of post-modern concepts), but the inherent experimental nature of the genre occasionally pushes a music project or release to explore topics related to ancient history. The 2004 compilation, XII Caesars, released by the long since defunct Somnambulant Corpse, is one of those outlier releases where industrialism and antiquity collide. Twenty years later, the release deserves to be unearthed and re-appreciated, not only for its contribution to the industrial genre, but as a time capsule of the underground scene in the aughts – a literal aural artifact.
XII Caesars Cover Insert.
XII Caesars is a concept compilation with a specific focus on Julius Caesar and the first eleven emperors of Ancient Rome as detailed in Suetonius’ influential text, The Twelve Caesars. Each track focuses on a specific Caesar and are presented in chronological order of each emperor’s reign with two exceptions: four emperors share track seven “Year Of Four Emperors (Galba, Otho, Vitellius, Vespasian)” and the last track is the epilogue “Ultor,” a reference to Mars Ultor, an iteration of the god of Mars during the period of Augustus.
The first track, “Julius Caesar, Dictator,” is by the ambient-industrial project Exsanguinate. The background drone of the song feels like one is being shaken or rattled, with distorted wailing appearing halfway through the track. There is a chilling, 4-beat rhythm that adds a catchyness to the track, giving listeners something to latch onto during the song’s duration.
“Augustus” by Tugend is the album’s second track. An ambient song with some neo-classical and borderline dungeon synth elements, it sounds like the music one would hear from a church belonging to an apocalyptic cult, with the latter half of the track bringing a fire-and-brimstone drumming to it.
Card of Tiberius / Murderous Vision.
The third track is the ambient “Tiberius” by Murderous Vision. The song begins with a repeating sample “Hey, Caesar” with the background giving way to other, garbled, sampled voices. The gives the track an effect of hearing whispered plots and schemes, and a general uncomfortable vibe, no doubt recreating the feelings of Tiberius’ paranoia.
“Tiberius” is followed by “Gaius (Caligula)” by Bestia Centauri. A droning track with some atonal electronics, it would easily be at home on the Cryo Chamber label.
Card for Claudius / Post Scriptvm.
Post Scriptvm’s “Claudius” is the compilation’s fifth track. An experimental soundscape, the song is sample heavy of crying, weeping, animal baying, and water rustling. The samples sit atop a 1-2 beat that flows through the song, making the song unnerving and ominous while at the same time accessible and easy to latch onto.
The minimal-ambient “Nero” appears to be the only song ever released by The Great Despisers.
Survival Unit brings the power electronics genre to XII Caesars with their “Year Of Four Emperors (Galba, Otho, Vitellius, Vespasian).” The track is both burbling and bombastic, peppered with muddled samples of speeches and screeches. It is volatile track, definitely mimicking the period of civil war in the Roman Empire.
“Titus” by Önd is an extremely minimal, experimental song, bordering on a single note being held through the entire duration.
The last of the twelves Caesars, Domitian, is the compilation’s penultimate track and composed by Axone, the project of Somnambulant Corpse’s owner Chris Donovan. An industrial soundscape song, “Domitian” feels both windswept and grating, like traversing stone tunnels constructed by giant bees.
The final track on XII Caesars is “Epilogue (Ultor)” by Marspiter. An industrial-ambient composition, the song feels like gazing upon a ruined city in the middle of a desert under a dark sky, a last glimpse of what once was.
Insert Back.
CD in tray.
The cover of XII Caesars shows the busts of the twelve emperors in a small, 3×4 grid, with a faint, dark, modern cityscape as the background. Inside the booklet shows a gladius while the CD proper shows the pillars and buildings of Ancient Rome aflame. The presentation proper is akin to the imagery used by VNV Nation during their Empires-era (late 90s/early 2000s). Included with the album is a series of large, double sided postcards, housed in a ziplock bag, each depicting a rendition of different Caesar in a hand drawn style. The entire package evokes both the ornateness and DIY philosophy expressed by small, extreme music labels of the aughts.
Complete packaging of XII Caesars.
Though ten industrial/ambient/noise artists are showcased on XII Caesars, only a three survive to the present day: Murderous Vision, Post Scriptvm, and Survival Unit (though Exsanguinate appears defunct, the project’s mastermind, Thomas Garrison, continues on prolifically as Control). Post Scriptvm and Stephen Petrus from Murderous Vision have graciously shared their experiences and thoughts about their tracks, providing incredible insight not only into their craft, but of industrialism of the period.
What is your relationship with antiquity, classics, or (in the case of pop culture) the sword and sandal genre? Are these topics that interest you or influence you in any way?
Murderous Vision: Outside of an affinity for the Jason And The Argonauts film as a child, I don’t have a notable interest in the genre. I do, however, have an interest in all things historical. So, when creating my Tiberius themed contribution, I tried to keep his rule in mind. Something sounding epical, orderly and underlying dread were the things I attempted to execute.
Post Scriptvm: The name of my project, Post Scriptvm, as well as its specific spelling, is inspired by the mid-1970s BBC series I, Claudius, which portrays the early Roman Empire and is narrated by Emperor Claudius. Although my project has consistently been influenced by the ideas and aesthetics of Russian art and literary movements at the turn of the 19th and 20th centuries, particularly Russian Futurism, I opted for this Latin name because, to me, it implies fin de siècle or the end of an era.
Murderous Vision, photo courtesy of the artist.
Outside niche subgenres such as neofolk and martial industrial, industrial music generally doesn’t dabble in pre-1900s history, let alone antiquity. From your perspective why do you think that is?
Murderous Vision: I think it may be related to the actual sounds of these genres. The instruments used and song structures involved evoke the way one thinks music sounded in these periods. With standard industrial music, the instrumentation is very clearly of the 20th and 21st centuries, and might be sonically incompatible with these historical periods. Authenticity and effectiveness reign.
Post Scriptvm: Many industrial music artists that I particularly appreciate, such as Bad Sector, Werkbund, Internal Fusion, SPK, Inade, among others, find inspiration in ancient mythologies. To me, this makes perfect sense. A 20th-century art critic once observed that the avant-garde serves as a continuation of classical art within modern contexts—an intentional continuation of an ideal that has been lost and ruined. For me, industrial music, particularly its more extreme, dark variety, has always served as a soundtrack to a civilization in steady and catastrophic decline. We primarily grasp, value and interpret antiquity through its ruins entombed within the sterile museum morgues, while a minuscule portion of surviving texts suggests an expansive realm of ideas forever beyond our reach. Industrial music, in parallel, reflects the decay of modern civilization, frequently finding inspiration in the ruins of ancient cultures. By referencing ancient ruins to depict the downfall of our own society, we are essentially shaping our own antiquity.
Post Scriptvm, photo courtesy of the artist.
What was the genesis of your involvement of the XII Caesars compilation?
Murderous Vision: At the time I had a close relationship with Chris Donovan and his label Somnambulant Corpse. I had previously been involved with the label on his Lovecraft themed compilation [note: The Outsider], and released a split CD with his personal project Kuru, called Blood-Brain Barrier. Both of these were released by Somnambulant.
Post Scriptvm: I received an invitation to contribute to the compilation from the owner of the Somnambulant Corpse record label. A couple of years prior to XII Caesars, Somnambulant had issued my debut album [note: Guaze], and I had previously contributed a track to the label’s earlier compilation dedicated to H.P. Lovecraft.
Did you get to select your emperor or was one assigned to you?
Post Scriptvm: The label actually had assigned each artist a Caesar to dedicate a track to, stating that the compilation’s subject matter necessitated a somewhat dictatorial approach.
Murderous Vision: It was assigned to me, based on his personal feeling of which emperor he felt suited the sound of each project he chose to include.
Your track on the compilation, was it an untitled song you had in your repertoire that you submitted or was it a song composed exclusively for the release?
Murderous Vision: It was composed exclusively for his compilation.
Post Scriptvm: For this compilation, I created an entirely new track, incorporating samples from both I, Claudius and the 1979 film Caligula, another one of my favorites.
How did you go about capturing the theme of your respective Caesar and conveying it in your composition?
Murderous Vision: I started by reading what I could online about the history and life of my Caesar. In drafting the sounds I kept in mind that I wanted to use reverbs that would evoke vast marble halls and open ancient stadiums. I recorded everything with a degraded VHS copy of Caligula playing on the TV in the background.
Post Scriptvm: Apart from incorporating samples from the mentioned films and submerging myself into both The Twelve Caesars by Suetonius and The Roman Empresses by Jacques Roergas De Serviez prior to recording the track, I did not deviate from my typical approach for composing Post Scriptvm tracks at the time. As an undergraduate student back then, I had only rather primitive, rudimentary equipment at my disposal, which, in my view, was well suited for interpreting the ambiance of the ancient Roman Empire.
Going back in time to 2004, what do you recall the reception of the XII Caesars was like?
Murderous Vision: I don’t think it was widely circulated, but deeply appreciated by those who did get one. I seem to remember some favorable reviews circulating.
Post Scriptvm: The reception was very positive. Despite being a DIY homemade CD-R release, the compilation was sold all over the United States and Europe and received several positive reviews in the underground press. The early 2000s marked the pinnacle for underground industrial music artists and small independent record labels like Somnambulant.
What are your thoughts on the compilation as a whole, from the presentation to the other contributions?
Murderous Vision: I was quite proud of my involvement. The label pulled no punches in the presentation, using high quality artwork and paper stocks to present the art panels, and professionally produced media sealed the deal. Every other act contributed great sound materials. It was a stellar compilation from a golden era that was known for stellar compilations.
Post Scriptvm: It is certainly of its time both in terms of sound production and its distinctly DIY presentation. It’s a wonderful testament to the era when underground experimental music flourished, showcasing the passion and dedication of the record label and every artist involved. Regrettably, the record label and the majority of the artists are no longer active.
Reflecting on your song for the compilation, are there any changes you would’ve made for it? Any thoughts of updating, remastering, or remixing your song and giving it a second life?
Murderous Vision: I think the track was a nice representation of the sound of Murderous Vision in that era. I think it stands as a good representation of both the band and the theme. The version that appears on there was truncated by the label for whatever reason he had at the time. The full, unedited version did, however, appear in 2006 on the Murderous Vision retrospective Ghosts of the Soul Long Lost Volume 1 [Note: listed as “Tiberious (Full Version)”].
Post Scriptvm: If I were to reinterpret that track now, it would have a completely different sound. I prefer directing my attention towards the future rather than dwelling on the past. Nonetheless, having to revisit it would provide me with a compelling reason to reread The Twelve Caesars and The Roman Empresses and to rewatch Caligula and I, Claudius.
Finally, what are some upcoming project news you’d like to share?
Post Scriptvm: My new LP titled Eisstoß is now available on Tesco Organisation, and I have a cassette EP titled Секта set for release in April on DumpsterScore Home Recordings.
Murderous Vision: This year will be another filled with activity. 2024 actually marks thirty years since the inception of the project. Among things that will happen this year are a performance in May supporting longtime friends Awen in NYC. There are a couple special surprises planned for the gig, but one must attend to see what they are! This year will also see the release of a new full length album called Pestilent Black Breath on Germany’s excellent label Dunkelheit Produktionen. Work is also well underway on a retrospective book of reflections on thirty years of Murderous Vision that will be packed with photos, flyers and ephemera from the beginning to present times. The machine chugs on…
Sincere thank you to Stephen Petrus and Post Scriptvm for their time and answers. More information on their projects can be found at the below links:
I take a look at the debut issue of Hearteater, a NSFW erotic pirate adventure comic. It can be read here.
HP Lovecast Podcast
A new episode of HP Lovecast Podcast is also online!
We have a returning guest, David Rose, on the show talking about his short story collection of Lovecraftian military fiction, Monsters in the Bush. The episode can be streamed at the HP Lovecast Buzzsprout page, via the embedded player below, or through your podcast app of preference.
The February Scholars from the Edge of Time vidcast is now online.
Michele and I start our retrospective of the peplum films of Bella Cortez with Vulcan, Son of Jupiter. I’ll be typing up my notes as a “Peplum Ponderings” article later this month.
The episode can be watched on YouTube. Stay tuned in March for the next Bella Cortez film we tackle which will probably be The Tartars (1961).
I’ve also started annotating Emmanuelle scholarship and posting it here at my website so other scholars have a nice bibliographic resource. The bibliography and annotations can be found hereand it’s a major WIP.
Miscellaneous Tidbits
Recent Peplum Acquisitions
I never heard the term “spear and fang” before as a genre, I just kinda called them “prehistoric peplum,” but alas, it’s a term and it has its roots in a Robert E. Howard story of the same name (story found here).
Coincidentally, at the same time of learning about “spear and fang” I had ordered such a film from Amazon. I never heard of it before, but it is called Alpha (2018). I learned of it while researching my In the Name of the King 2: Two Worlds write up in that both films star Natassia Malthe).
I’ve never seen it, but it looks tough. I also know the poor pupper is not going to make it.
In the mood for some new peplum music to write to I plucked up off discos the soundtrack to the Conan TV series of the 90s.
This was a series that was greenlit to capitalize on the success of the Hercules/Xena shows. Conan managed to slip by me growing up, so I’ll have to hunt down the boxset of it to watch (but it’s way OOP). It does star Ralph Möller who is always bad ass, from Universal Solider to Gladiator. He looks like a good Conan on the cover of the album.
The music is fun – great background music to write to.
On the subject of Möller and music, I’d be remiss if I didn’t bring up his guest appearance in the E Nomine song “Schwarze Sonnne” which has Möller wielding a sword in a post- apocalyptic city while fighting tech ninja. The song slaps hard:
Next up is In The Name of the King 3: The Last Mission.
After seeing Two Worlds, I felt obligated to complete the trilogy. I hope in this one they actually lean into the modern day soldier/merc doing stuff in Medieval times. If you want to read my thoughts on In the Name of the King 2: Two World, click here.
Also procured is Damon and Pythias (1962), another classic era sword and sandal I have not seen.
I’ve been trying to get the Warner Archive releases of sword and sandal films when I can. I heard scuttlebutt that Warner was going to wind down their production of physical media, which would be a shame because they actually took care of their films so their peplum releases actually look decent on home video.
I don’t know how I stumbled across it, but it was random on Discogs, but I had to have a copy of Inferno’s The Roman Empire.
Someone on a Sword and Sorcery Discord I go to said the cover looks like Encarta barfed all over it (they’re not wrong!). I am going to try to hunt down all the pictured that where used in the collage work on this album. I’ve identified one: The chariot and horse scene near the top left is from the Hercules Unchained poster (see bottom right):
The music is early 90s Eurodance style. It’s campy, but kinda catchy and fun. If I can find more image sources I’ll do an article proper on this album.
