'This is Samael at their earliest and most hideous spawning, which would heavily differ from the now multi-musically inspired Samael. When first rose out of the predominately French speaking side of Switzerland in the later part of the '80s they pushed out a few stillbirths, but then swayed a few misfits in the next decade with the fully developed studio recorded album: 'Worship Him.' I feel it is an album that is their darkest and most sinister in comparison to their future outputs. This was recorded almost a year prior in '90, but even when it was released in '91 by Osmose, according to the owner in a later interview I read it was even hard to sell then; possibly with a combination of a newly acquired label and newly arisen extreme metal band not setting in just yet. Which shows that what they were doing at the time was at least something different than the rest.
The album's production is dripping with evil distastefulness. It is all around audible, yet it is neither patchy nor supremely flawless, but well deserved as a dark force which is now just a long lost forethought in Samael's minds. If you travel back to the year 1984 and searched for young and extreme metal groups with an upcoming experimental approach, then Hellhammer's 'Apocalyptic Raids' should ring bells, and carry on trails of influences in its former foreboding path. This is essentially to be found on a later journey made into Samael's hellacious debut.
The first piece of damnation and the leading drive behind their songs is the guitars. The guitars, obese with heaviness, slowly goes on the Slim Fast diet as each album after this proceeds. The riffs interchange between fast pumping chugged moments, to slow palm mutes and sometimes single note doominess. The production on his guitars is mildly reverbed, but is also heavily distorted and full and thick sounding. Various pedal effects are used here and there, especially on the song 'Into the Pentagram,' there is a short section where he uses a pedal to compress the sound and alter reality on this cosmic force of interchangeable feats. Masmiseim is listed in the line-up on the album under bass player, but a few lines below it says it is instead performed by Vorphalak. It is played in clean form and basically used to highlight certain riffs by enforcing the riff pounding electric guitars.
If reverb were water, then the drums on 'W.H.' would act as a deadly presser washer and ten fold the excitement at every wet t-shirt contest it was played at. The reverb on his snare possesses a very enchanted, hall-like feel. Which sounds like the walls were slapped in a very long cathedral corridor, and then demonic monks used bells as the hi-hat equivalent. In techniques and styles, the drums range from having slow parts where the guitars along side are palm muted and ended with a few power chords. Furthermore, the drums will utilize the double bass to heighten the part when he hits a few chords, or even during their faster or mid-paced sections. He touches up on the toms and snare rolls, and creates continuous 1st degree battery on the double bass pedals once more.
The vocals are a redeeming, sinister force, also done by electric chainsawist Vorphalack. The vocals are the epitome of this evil drenched entity. They range from howls to destructive growls, which can often extend between the ambiguous palm muted riffs, and customarily end before he hits a chord. He uses a rather extended vocal projection, which fills the riffs with a limited amount of words. Rather than some previous extreme thrash bands would use a quick vocalization and fill a small space with a vast amount of words.
Samael delivered to us a couple of demos that needed sharpening and a spit-shine to polish, musically and production wise between 1987-89. An early band influenced by Hellhammer, and even going on to create simplistic riffs similar to this once monumental death-black metal band. At points, Samael shares a slightly slower playing side comparative to some material by their Swiss counterpart. However, every band has their influences, and Samael of course had their own distinct sound and diversities. They arrived at a point when bands were beginning to create a resurgence of black metal. Also at a point when more and more bands were popping up with faster drums and extended growled or raspy vocals; rather than quick and aggressive thrash type of vocalization of squeezing long phrases into a short riff structure. There was also the addition of more and more bands adding doom-like slower sections into their musical approach; probably more so with later described death metal groups. Some bands were changing and going for an abstract style of dark music, rather than an all-out physically aggressive side. Samael possessed many of these attributes, however they would indeed stand apart from others. The band on from their second debut had steadied themselves to add more consistent mid-paced sections. They also slowly dropped the reverb saturated production and in place gave themselves a more clear, present sound. In my opinion, the music does deliver on their second and third album, but when comparing the overall atmosphere of 'Worship Him,' there is a definite darker leaning more towards this. The later Samael sound swayed onto a more experimental and distant, if even classified as black metal, sound, which I'm not too fond of. Their later material also makes me fall backwards to their earlier releases and want to listen to this as a proven force of time still agreeable now.'
Hellhammer influenced early nineties' black metal- 98%
'Samael would take on elements that work on a productive, yet simple, level for their second album and follow up to their debut Worship Him. Samael had a past influence from Hellhammer that would show throughout their fast and slow debut. Blood Ritual is a distancing from their faster sentiments, while demonstrating a slower paced attitude and a middle mentality.
The new sound Samael has is quite clear and shakes off the filth from the last. While the music here isn't going for a savage or shocking showcase. Rather, Samael plays with a simplistic emphasis on catchy riffs and a less over-bearing side. Their darker half is a powerful engagement with elements that are timed, and have a spacing that is appropriate to its own musical subtleties from the first note to the very last.
Tracks are often worked up, like the fifth song: which has a dark, natural and airy acoustic guitar with interknited background keyboards, and then the music picks up with electrified pumping guitars and a slow moving agenda. The playing style of the guitars is very similar to the last album: with compelling riffs that utilize minor changes to amplify, and an abundance of palm mutes during mid and slower sections to add mass; he still excludes solos as well. With an ample production, Vorphalack's vocals appear differently: separating and centering his voice to an easier to understand focus. He uses a raspified self-distortion with a lurking extension, along with a shifting tone on certain sections for emphasis. Taking his time to add nail-biting anxiety that will eventually be left to nubs. The drumming picks up the pieces of the tracks with a slightly effected drum set, although less than the last album, and with each drum being clearly audible. He uses galloping and also continuous double bass to give more auditory background when the guitars are using a basic rhythm.
Xytras duals as drummer and keyboardist. He structures the keyboards when the main music isn't playing. As in a few intros or a short piece at the beginning or at the end of a track. 'Total Consecration' is a case of using keyboards throughout a given song. Consecutive, building pianos are used with varied thematic sounds and layered, mysterious effects; at one point there is a distorted vocal section overtop breathing fetidly in short gasps about bits and pieces of an occult ritual about to go underway.
The title track 'Blood Ritual' and 'Macabre Operetta' are from an earlier demo fittingly called Macabre Operetta. The Blood Ritual song has faster moments like the original, but this time with an unified tightness that was missing on the demo version; this is the only song with faster drums and guitars together here on the album. Macabre Operetta adds an acoustic beginning and some keyboards at the beginning and ending that was different than the original. Both songs here have vocals that are refined and bring back re-animated life to these tracks that needed a cleaning up, since they had the right ideas in mind but the inability to fully carry them out back then.
Blood Ritual would be a more subtle approach to dark-themes and has a beneath-the-surface evil persona. It uses a slower and middle take on black metal, while mixing a few keyboard sections and concentrating on fundamental pumping metal with heavy toned riffs. There is also a captivating basicness with Samael's Blood Ritual that has a way with its audience: to listen to the full album in its entirety and hardly flinch at hitting the replay button.'
'The band evolved from a Hellhammer influenced group of metalheads in the later portion of the '80s. They put out a few steadily progressing demos, even further expanded on some of these songs with the first two full lengths. Their debut "Worship Him" had speeds that went from fast to slow, while their second full length "Blood Ritual" concentrated on mid-paced and slower sections. "Ceremony of Opposites" would take two years to start from scratch. This release retains the mid-paced sections similar to "Blood Ritual," while adding a few more musical additions to their growing song writing as well.
Samael carried over some of their methods and ideologies with "Ceremony of Opposites." They still play with simplistic guitar lines, basic and heavy chops, snarling vocals and maintain a similar lyrical focus. Since I listened to "Worship Him" for a while prior to first hearing this album, I remember it was a hard sell due to the polished, clean-as-a-whistle production job. However, the band's drive to maintain part of their past still kept me coming back to this release.
The primary aspect of early Samael albums is the heavy guitar riffs. They are usually carried by surplus amounts of palm mutes that mix other simplistic combos within this basic context. For instance, he might add some harmonics; which is a technique where you lightly put your fingers over the strings on the fret board and it makes a particular higher pitched accent. The riffs can range anywhere from various chords to single notes that occasionally venture to the higher strings. Vorphalack's vocals play a pretty big part together with the driving force of the guitars. Something like a frothing, mad horse guiding the demanding wagon. Since he does vocals at the same time as guitar playing, he usually places them in between the palm mutes or strummed sections. His style has a multi-tone feature that uses his own certain raspy, on-the-verge-of-a-growl delivery. His vocals are along the lines of "Blood Ritual," but have less drowning reverb than "Worship Him." Even with the sharper sound quality, they don't lack focus and still remain a guiding entity. The drums aren't as naturally heavy sounding. I mean, they are loud, but a little too pronounced and crisp. However, that doesn't mean that they're dull in how he plays. He still pulls out a massive amount of double bass, often using them to accent and maximize certain fills on the guitars. The bass comes in mildly distorted and is slightly heard with the rest of the music. It even gets a chance to open up "Mask of the Red Death" alongside the drums.
This album has a few hit and miss moments, whether it be certain sections with the keyboards playing a little too hokey with overbearing sound effects ranging anywhere from strings, keys or horns, or just having them go from subtle and interlaced to overstaying their welcome. Or be it the atmosphere turning from dark and heavy to instead upbeat with these particular almost lively-moving mid-tempos. The pacing of their song writing can be its undoing at points, but for the most part its doing and cause this to move. Essentially, there's hardly a pause or a stationary moment, and even though this is primarily in mid-pace, it doesn't mess around very much, constantly driving forward and switching up to the next mode and moment. By the end, you've heard a steady train of pounding and crunching notes to satisfy your palate. This recording is just before Samael began to turn towards more electronic means: slick digital production, bombastic keyboards and synthesizers taking over areas of guitars, live playing with half-real drums half-fake, even murdering a few of their classic early tunes with this switchover when playing live. "Ceremony of Opposites" is a worthy addition to a collector's Samael library. It doesn't stand as tall in comparison to their first two releases, but at the same time this isn't heavily overshadowed by them either.'
'What we have here is an EP by SAMAEL, released just after "Ceremony Of Opposites". While at first listen, you may come to think that it was recorded during the same sessions, but this release was recorded a little over a year later. However, not a whole lot had changed. They have kept virtually the same sound from their previous effort. Vorph sounds the same, Xytras is still pounding away behind the drum kit, the guitars have the same tone and quality as before, and the keyboards are still ever present. So, suffice it to say, I think that if you liked "Ceremony Of Opposites", then you should like the one new song on this release.
"But Josh!" you all think, "There are six tracks up there! Are you blind?"
No, I'm not blind. Yes, there are six tracks, but only one new song. "Rebellion" is the lone new song here, and a good one at that. However, the rest of the disc is made up of little extras that may or may not please fans. First, we have a cover of an Alice Cooper-song, which is rather well done.
Second, we have two songs that were originally found on the first two albums, and have been re-recorded with current production and line-up. "Into The Pentagram" is very well done, and superior to the original, but "After The Sepulture" just doesn't have that oomph found on the original. Not a bad song, I just like the original better.
Finally, we have an instrumental track by the name of "Static Journey"…which contains no instruments that I can hear! Yep! Our first industrial SAMAEL-track! It's really quite good! Cold. Mechanical. It rather suits the band. However, some may be turned off by it, claiming its lack of Metal-qualities. I scoff at ye who do so, but I'm only one person. Listen for yourself to see if it's your cup of tea. And as a bonus, there is a…well…BONUS-track found on this disc. It consists of a bass guitar intro, accompanied by what sounds like an accordion, followed by several versions of "Static Journey" with some sort of vocals. Overall, a great EP, and I would recommend it to at least 8 or 9 people! :)'
'Somewhere between Samael's crunchy post-black metal sound (Ceremony of Opposites) and their predilection for industrial-esque/darkwave music in the future, is their swansong of an album 'Passage'; not just a ceremony of opposites, but full-fledged marriage of the two. While it's easy to see why fans of Ceremony of Opposites might not take entirely too kindly to this, as it's a much less gloomier or "purely metal" approach to that bombastic sound realized on CoO, it's a total departure from things like Blood Ritual (which as of this day (2/23/08), are a welcomed thing considering how dated Blood Ritual sounds).
Truth be told, when I picked up 'Passage' in 1997 or so, I wasn't even aware that a band called Samael existed. I was drawn to Passage simply for two reasons: 1. the fact that it was a Century Media release and 2. the kick ass astrological album art-work (which meant a band that probably shared similar concepts that I did about life on earth, spirituality, and the great beyond... which I know now, is quite an understatement). Surprisingly, what I heard from the disc was an amazing marriage of two different music styles I've always been into... darkwave/industrial and black metal. The strange thing was, never before I had it heard it (or figured it could work), but Passage made complete sense to me. Suffice it to say I was blown away by the sound on this disc and still am to this day. I mean, I can listen to it and it still sounds as fresh as it did in 1997... still cutting edge, still RELEVANT. Now that's a true testament to the quality of the music found within Passage.
Understanding that, it's no surprise this album is only for a select few people who "get" and appreciate this sort of thing. In fact, I can definitely say most metal fans won't get this as much as I would say most darkwave/industrial fans wouldn't. The reality is even people who are fans of both genres, like me, wouldn't get Passage either, but that's ok. This is an album that doesn't need validation from the masses. Anyway, it surprisingly lives up to it's namesake in the context of Samael's discography, as a 'passage' through one sound form to another (black metal to full-fledged darkwave metal). Which is exactly why one should be able to go a step backward with Ceremony of Opposites and still get into it as a rawer, more primal form of Passage and at the same time move forward with the Exodus (ep) as a continuation, or move ahead even further into a fully realized form of darkwave metal (hardly any underlying black metal tone, if any at all).
But you see, despite all this classification of albums, and getting caught up in the different eras of Samael's progressive career is something MUCH MORE than just a stepping stone from one musical plateau to another. If one really enjoys the music and the artwork, the next logical step is beginning to understand what the album is all about. And that's where the real glory of this album presents itself. Normally, one appreciates a black metal album as some arbitrary sound of raw, primal energy without much focus on the lyrics or concept (usually they're quite silly, so it becomes more about the feeling and the music, and less about identity, image or lyrics). Not so with Passage, however... and that is where it truly shines! When one delves into the lyrical content, thankfully provided by Vorph, you begin to understand the complexity of the sound, and the concept really begins to pull together. It's a spiritual journey into the unknown possible origins and evolution of mankind, in reality. Perhaps metaphorical or truly inspired by esoteric archives, the lyrics are paradoxically dark yet illuminating; certainly intriguing to say the least.
I can't begin to try and explain it for you... it has to experienced with a great set of headphones or stereo system with undivided attention given. It's something that made quite an impression on me as a young 17 year old kid; never having been exposed to such concepts or beauty made it all the more riveting. And to me, it still stands the test of time as a canonical piece of dark metal spirituality... a true behemoth of an album among a sea of uninspired, dull exposes of animated egocentric posturing, you know, caricatures of chest-thumping bravado (Passage actually succeeds in inspiring self-actualization where most of these miserable, self-loathing, xenophobic meat-heads do not). In reality, this is an album of pure essence over excessive materialism so to speak, and the enormity of it's grandeur can only be truly assessed when one pays close attention to the vocal stylings while comprehending their lyrical meaning in the context of the musical passages. Then, and only then, can one realize the full impact of this album in all it's splendid glory.
To know 'Passage' is to know Samael's most enthralling musical and lyrical work to date... to pick this up all cost, would be perfunctory advice at best. On the other hand, perhaps this just made a monumental impact on me at a tender, impressionable age, rendering my observations on it biased to say the least. Or, perhaps, it is just that good. At any rate, no one album can ever achieve a perfect score, but rest assured this was one that's like 99.75%, which is awfully close.'
Closest metal album to perfection!- 99%
Written bysublime_wreckage @ www.metal-archives.com
'Although there are some extremely odd and uncharacteristic songs on this EP release, Samael have once again created a good short album. “Exodus,” brings all different aspects of Samael into once album. Brining classics from the older albums like the track, “Ceremony of Opposites,” and the song, “Exodus,” which sound very much like something done during the, “Passage,” era, as well as something like, “From Malkuth To Kether,” which is completely new and different then any Samael I have ever heard. This album sums up what the band has completed in there long history. If you have never heard much of samael this album should give you a basic idea of what the band is about.
“From Malkuth To Kether,” is an extremely odd song… It has a very fast beat and very powerful guitar which follow the thundering beat that the drums play. It is a rather amusing track; although not very characteristic of the band it is a neat experiment for a song. Other tracks like, “Exodus,” “Tribes of cain,” and “Son of earth are,” classic tracks done by samael. Having 7 songs on the album makes it a pretty long EP release, and easily worthwhile having.
The best songs on the album are, “Exodus,” “Tribes of Cain,” and “From Malkuth to Kether”'
'Three years after the classic masterpiece, “Passage,” the 1999 release, “Eternal,” sounds a little similar to “Passage” but a lot different then Samael’s best release “Ceremony of Opposites.” Each album Samael releases sound more and more like industrial metal that they are now known for. Several of the songs have very catchy tunes with thundering riffs. Although some of the tracks on the new album are a little weak and boring some of it is excellent.
One thing I notice with many of the tracks on this album start out with a brilliant tune but kind of loose interest partway through. Tracks like this include, “Radiant star,” and, “Us.” These two songs have outstanding beginnings and other certain parts but kind of boring middle sections. It almost seems like the band couldn’t come up with anything better. Other songs however like, “Year zero,” and, “The cross,” are unbelievable the whole way through. Like Passage there is quite a lot of keyboard work that plays peaceful tunes that fit well into the heavy distorted guitar.
The vocals are not very harsh but it fits the songs better because the songs do not sound like grind metal anymore at all. I think that if samael keep up the keyboard work they might become orchestral metal soon; because there keyboard tunes are so unbelievably original…Samael are really starting to remind me of a band like Therion.
The best tracks on the album are: Year Zero, The Cross, Us, and Radiant star. Although I think this is probably Samael’s weakest release it is still a quality release and is worth having.'
'After the end of the year re-releases of ‘Worship Him’ and ‘Ceremony Of Opposites/Rebellion’ there is suddenly a new double album of Samael out on Century Media. I initially thought that it was a re-release too, but I could not remember an old Samael album with the title ‘Era One’. It appeared that the recordings of this double CD happened way back in 2002/2003 for Century Media, but the material was only mixed last fall by old friend Siggi Bemm at the Woodhouse Studios. ‘Era One’ is released under the moniker Samael, but it is actually a side project of the brothers Xy and Vorph. An electro/ambient escapade.
‘Era One’ is the main CD. The second CD with the title ‘Lesson In Magic # 1’ is an extra and it happens to be an instrumental one on which Xy unleashes his meditative musical ideas. Worth while to sit back in your lazy chair, but as a whole it eventually gets a bit monotonous and it gets hard to keep your thoughts fixed. But maybe meditative music is meant to let your thoughts wander. There we have a point too.
The music on ‘Era One’ is less heavy than what Samael brought us on their latest studio album ‘Reign Of Light’. Just delete the industrial influences for the most part and you get close to this. Yet it is very recognizable as Samael. Vorph (lyrics and vocals) and Xy (music and all instruments, mainly drums, synthesizer and programming) did develop their own style during the past years indeed and that style can be identified from afar. The low, dark voice of Vorph, wide keyboard parts, loops and electronics and matchless drum sounds are the qualities of it. No guitars, but to be honest, I did not miss them.
The album opens with classical piano, where after the drums raise the rhythm in ‘Universal Soul’. It is very atmospheric and filmic in its entirety. This while ‘Sound Of Galaxies’ turns out to be a very danceable track that would do well in discos. Programmed drum beats, a slightly industrial touch, yet with a cosmic aura. Even if this music sometimes comes dangerously close to a genre I really hate (disco and dance music), yet it has an undeniable attractive power and quality if performed by these musicians. ‘Beyond’ is an instrumental intermezzo based on percussion and didgeridoo alike sounds. ‘Night Ride’ shifts to heavier drum beats again, while the ‘full of schmerz’, low sung ‘Diamond Drops’ is a calm, slow song. The instrumental ‘Home’ passes into the mind-blowing ‘Voyage’ which illustrates a feeling of freedom and grandness in a perfect way. But the stunner of the album finds itself at the end of the record. ‘Koh-I-Noor’ is a treasure which leads you away on wide synthesizer parts. Music where you feel the need to take a deep breath, unbend the mind and embrace a long-time lost cosmic consciousness. Samael head-liner on Wave Gotik Treffen? The galaxy will obtain another dimension.'
'Samael are one of those bands with a patchy career, with material ranging from derivative and repetitive droning through to fresh and exciting innovation. Fortunately, this double DVD set concentrates predominantly on the latter category. The main focus of this DVD are two full concerts, dating from 1996 and 2002, plus a bootleg of an early show from 1994. Also included are several promo videos, interviews and footage from the _Passage_ and _Exodus_ sessions.
The first full concert is that recorded at the Summer Breeze festival in 2002 in support of the _Eternal_ CD. The sound, although pretty good, is marred by the thinness of the pre-programmed drums and keyboards. In comparison, the concert recorded at Krakow, Poland in 1996 sounds much better, as the keyboards and synths have a much fuller sound -- the quality is comparable to the recent Emperor and Dimmu Borgir DVDs. Consisting largely of material from the excellent _Passage_ CD, with a few songs from the only slightly inferior _Ceremony of Opposites_, this concert is the undisputed highlight of _Black Trip_ and is in itself nearly sufficient to justify the purchase of this DVD.
The 1994 show was recorded in the US and was originally a bootleg -- presumably both audio and visual were cleaned up a bit for an official DVD release, but to be brutally honest, it still looks and sounds shit. The drums dominate the mix, overriding everything else. Vorph's vocals are totally indecipherable and the guitar is little more then a wall of noise. The songs are almost exclusively drawn from _CoO_, and unless you are very familiar with the material on that album, it will be impossible to enjoy. On the other hand, there are many who will appreciate the inclusion of older material regardless of quality, and I cannot fault its inclusion -- especially since this DVD is the same price as a single DVD. I was surprised to notice hardly any material from _Worship Him_ and _Blood Ritual_ was included in this concert -- no big loss, as these two CDs pale in comparison to just about anything they have released since then, but surprising nonetheless. In conclusion, this DVD set is highly recommended to any who have more then a passing interest in Samael; but if your favourite Samael album is _Worship Him_, you'll be wasting your time and money here.'
8 / 10
Written byQuentin Kalis @ www.chroniclesofchaos.com
Samael - A Decade in Hell (2010) [9 CD + 2 DVD Limited Edition Box Set] [HQ]
1. Sleep of Death (03:43) 2. Worship Him (06:29) 3. Knowledge of the Ancient Kingdom (05:04) 4. Morbid Metal (04:54) 5. Rite of Cthulhu (02:00) 6. The Black Face (03:30) 7. Into the Pentagram (06:45) 8. Messenger of the Light (02:41) 9. Last Benediction (01:23) 10. The Dark (04:29)
1. Black Trip (03:19) 2. Celebration of the Fourth (02:53) 3. Son of Earth (03:58) 4. 'Till We Meet Again (04:11) 5. Mask of the Red Death (03:04) 6. Baphomet's Throne (03:30) 7. Flagellation (03:41) 8. Crown (04:06) 9. To Our Martyrs (02:37) 10. Ceremony of Opposites (04:39)
1. Rain (04:01) 2. Shining Kingdom (03:37) 3. Angel's Decay (03:37) 4. My Saviour (04:09) 5. Jupiterian Vibe (03:23) 6. The Ones Who Came Before (03:42) 7. Liquid Soul Dimension (03:42) 8. Moonskin (03:57) 9. Born Under Saturn (04:18) 10. Chosen Race (04:08) 11. A Man in Your Head (03:43)
1. Year Zero (03:38) 2. Ailleurs (03:54) 3. Together (04:27) 4. Ways (03:48) 5. The Cross (03:21) 6. Us (04:14) 7. Supra Karma (04:33) 8. I (04:01) 9. Nautilus & Zeppelin (04:12) 10. Infra Galaxia (04:11) 11. Being (03:12) 12. Radiant Star (03:44) 13. Ways (1st mix) (03:46) 14. Ailleurs (Alternative mix) (03:55) 15. Infra Galaxia (Alternative mix) (04:09) 16. Us (Instrumental) (04:11) 17. The Cross (Instrumental) (03:18) 18. I (Instrumental) (03:56) 19. Ways (Drum'n'Bass mix) (03:48)
1. Wrapped in Guilt (04:34) 2. Tongues and Knives (05:15) 3. Nothing in No Time (05:50) 4. Anticipation of a High (04:34) 5. Grasp at Air (04:36) 6. CommunicHate (04:26) 7. Substance for Shadow (04:50) 8. God Shaped Hole (05:05) 9. Degenerative Breeding (03:47)
1. Wrapped in Guilt (04:34) 2. Tongues and Knives (05:15) 3. Nothing in No Time (05:50) 4. Anticipation of a High (04:34) 5. Grasp at Air (04:36) 6. CommunicHate (04:26) 7. Substance for Shadow (04:50) 8. God Shaped Hole (05:05) 9. Degenerative Breeding (03:47)
1. Era One (02:09) 2. Year Zero (03:43) 3. Shining Kingdom (03:28) 4. Rain (04:26) 5. Together (04:08) 6. The Cross (03:23) 7. Home (02:05) 8. Jupiterian Vibe (03:38) 9. Radiant Star (03:36) 10. Ways (03:47) 11. Infra Galaxia (04:25) 12. The Ones Who Came Before (03:52) 13. Ceremony of Opposites (Outro) (01:10) 14. Black Trip (03:54) 15. My Saviour (06:40)
16. Jupiterian Vibe (03:25) 17. Infra Galaxia (03:56) 18. Baphomet's Throne (03:34) 19. Woodhouse Studio Footage / Interviews' 96 (12:44)