#maundering mori

[spider-haven444]

Infestissumam Review Blog!! (a simple one at that)

Hi there! im Spider_Haven, and I am here to talk about my favorite album! Today, i am here to talk about Ghost's Infestisumam. (mixed by Nick Rasculinecs, ) (Preformed by Papa Emertius II and a group of Nameless Ghouls) Can we just rave about how amazing, this album is? I cannot be more ecstatic to talk about it. We begin with the beautifully haunting TRACK, Infestisumam The beginning of the songs vocals that just lead to the powerful instrumental, and guitar it is just so moving. As if one into battle. i enjoy how it goes into our next beloved track... Per Aspera An Inferi.. the way it feels when listening to it, is amazingly trippy. I simply implore the 60s trippy, and renaissance vibes i feel on this track... let Alone the whole album! it feels so strong with its sounds, and filled with stride! Truly a classic. Secular Haze, also featured on If You Have Ghost, has a dark, carnival, and evil feel. Definitely one to remember, with the beginning lyrics. One can faithfully say, that papa can beyond any doubt, can summon the fog weaver. Now, another classic. Jigolo Har Megiddo. Now, this song without fail, is catchy. One simply can feel the atmosphere fill with vile delight, as we here Papa sing, in the most pacifying way, sing so seductively. Like many of Ghosts songs, this also sounds bewildering.. Now to talk about an paradigmatic song in my opinion.. Ghuleh/Zombie Queen. I am one to believe, that many Ghost fans, can agree how beautiful this entire track is. It is so somber, and sweet sounding in the beginning. I have confidence to say, hearing this for the first time when i first got into Ghost, it was utterly breath talking, how it transitioned to such a dominate piece such as Zombie Queen. Year Zero, is one i think many fans like to hear.. How striking it begins with the vocals, (i enjoy the vocals in Ghost, they truly are mesmerizing!!!! I will more then likely, always maunder about how much i enjoy hearing them, and Papa sing.. The way it ends with such a somber, somewhat nostalgic renaissance feel... Hail Satan! For Body and Blood, i can not rave more over how groovy this song is, and just makes me want to dance!! Totally, a song to remember, and one to get down dirty with.. Idolatrine, is also a favorite of mine on this album. How can it not? it is catchy, and all i can think of the terrific evil vibes i get from it! I could listen to it all day if I could. Don't look into the Depth of Satans Eyes.. for you truly will be entranced by this track! It is a wonderful depiction of Classic Sixties music, and the keyboard in it is absolutely wild! I cannot get over it. Can you hear, the Monstrance Clock? I do! A wonderful way to end such a great Album, when i first heard this song, i couldn't get enough. the way Papa sings is absolutely soul stirring... The way he performs it, is one to hear in awe! the way it pauses before 'As the parish sighs in smoke Enters lady, revealed of cloak To the haunting sound of the monstrance clock Singing' is so heart stopping... ' How thrilling!!!

Now we move onto Our hidden tracks, if you have the Cd Deluxe! But you can also find the tracks online, so don't worry if you don't have the deluxe album! :) La Montra Mori.. Such a spooky, yet beautiful song. it is one to entice! Or just lure you into that beautiful sound, and peaceful feeling it brings.. This is one of my few, top songs on this album for sure. Now,, of Course how can we forget??? For all... Papa is just a little marionette.. Im a Marionette, also featured on the If you Have Ghost album, is so moving.. and melancholy. One that could be soothing to some! It i would say, is also one that many fans can enjoy.

[oldfarmerbillswife]

This fugue tugs at my heartstrings in a way that only Wolfgang could. When I first heard the unfinished 1791 sketch, it truly drove me to utter tears. Maunder’s completion is a beautiful beautiful work. I personally believe this Amen fugue would have been Mozart’s GREATEST piece if he had finished it. I love fugues, and Mozart, and Requiem/Funeral Masses, so all of this is a beautiful sobbing mess.

[schrodingers-me]

lowkey wanna to do daruma san next?? but that seems like quite a jump from the lightweight ritual i did last night. maybe ill take it slowly...

[oldfarmerbillswife]

My current obession! I listen to it while I'm cleaning at work 🤣🤣. I find nothing wrong with listening to a Mass for the Dead every day, it's very much in the Catholic style of "momento mori" anyways!😅

Two weeks ago my fave part was the Amen fugue (arrenged by Maunders completion of the Mass).

Last week it was the Introitus. (Which THEN led me to obsess over Handel's "The ways of Zion do Mourn," Wofferl's inspiration for the Requiem. )

This week week it's Domine Jesu. The little "quam olim Abrahae" fugue bit is on anotherrrr level 🎶☺👌👌👌

I know it was written for a funeral mass, but Mozart's Requiem in D Minor is just the best.

[pubtheatres1]

BUT IT STILL GOES ON written by Robert Graves Finborough Theatre10 July - 4 August 2018 ‘An engaging drama, providing glimpses into things that would not be fully explored on stage for another forty years’★★★★ The Finborough specialises in reviving long neglected works or plays unseen in England before. But It Still Goes On, written in 1929 but previously unperformed, is pretty much peak Finborough. Written by Robert Graves, most famous for his First World War Memoir Goodbye to All That and his historical Claudius novels, the play embodies many theatrical styles and themes of the time. Several scenes are set in drawing rooms and revolve around wealthy artistic types. The First World War, which had ended a decade before, also looms over the action. Well, for the younger generation anyway. The play was commissioned to capitalise on the commercial success of the war play Journey’s End. Director Fiedelis Morgan pulls out all the stops in this lavish and starry production. Excellently designed by Doug Mackie, the production captures the post-war decadence well. From dancing the Charleston to consuming oysters and champagne, these people are living the highlife. Lindsay Hill’s impressive costumes add to the period authenticity. Yet, even in this paradise, death looms. Dick (Alan Cox), a charismatic modernist poet, is still dependent on his more famous but bland writer father (Jack Klaff). Dick keeps his wartime pistol as a memento mori. Psychologically scarred by his wartime experiences, he has a recklessness about him and his at once angry and humorous tirades provide the play with many of its memorable moments. His summary execution of a young soldier who had refused to fight in the trenches still haunts him, and the young man’s ghost (Joshua Ward) stands over proceedings. Dick talks about a malaise that has befallen society, a ‘catastrophe’, perhaps the war, perhaps a deeper chasm. But despite this, everything still goes on. In itself, the play is compelling enough and well-paced, and amusing throughout. What sets it apart, and makes it so interesting to an audience in 2018, are the characters Charlotte (Sophie Ward) and David (Victor Gardener). The play does not take long to establish that these characters are both gay. This is not totally unique to plays of the period. For example, similarly to Mordaunt Shairp’s The Green Bay Tree (1933) we hear about the extravagantly attired young men cruising Piccadilly. However, the relative frankness of David and Charlotte’s conversations, opposed to just winks and allusions, does distinguish it from much other work of the time. Graves gives us a glimpse into the gay underworld with its pick-up points, knowing waiters and nocturnal activities on the heath. But it is in the character of Charlotte the play really intrigues. Whilst the portrayal of gay men, sympathetically and unsympathetically, can be seen in various plays throughout twentieth century, lesbians were much rarer, close to invisible, especially during this period. And in Charlotte we have a well-rounded character, brilliantly played by Ward. Perhaps this is where we come to understand why the play could not be performed at the time. David and Charlotte both see marriage to someone of the opposite sex as ‘the last chance for a normal life’. This leads to both of them being deceitful and making terrible decisions. These were the kind of decisions that many LGBT people had to make at the time. And the play, on the whole, treats them sympathetically, or certainly in the first act. But their actions ultimately shape the course of the play. With Graves being no stranger to Greek tragedy, and a loaded gun being passed around from the beginning, we know things will not end well. If it is an undiscovered gem you are looking for But It Still Goes On really fits the bill. It is an engaging drama, providing glimpses into things that would not be fully explored on stage for another forty years with the end of the Lord Chamberlain censorship. It would have been great to have seen more of Charlotte and look more deeply into her world, but perhaps England was not quite ready for that in 1929. BUT IT STILL GOES ON written by Robert Graves. Edited with additional dialogue and directed by Fidelis Morgan Presented by Andrew Maunder in association with Arsalan Sattari Productions and Neil McPherson Finborough Theatre10 July - 4 August 2018 Box Office: https://www.finboroughtheatre.co.uk/productions/2018/but-it-still-goes-on.php Andy Curtis is a playwright who regularly has plays performed in London fringe theatre.