temple records

Great Company
Mystic Braves
Great Company

“Hey! Now here i come!
Watch Me Fly!”

(New Single || September 2015)

Wow!! Found this rare security footage of Baze stopping vandals defacing the temple compound walls, as recorded in @e-sebastian historically accurate ‘The Crystal’s Song’ fic!!

(Potentially this statement is bullshit, and it’s actually from the 1997 film 'Keep Cool’… but that’s just splitting hairs.)

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Mesopotamian Kudurru (Boundary Stone), 2nd Dynasty of Isin, 1157-1025 BC

The upper section of this finely polished black limestone kudurru is decorated in intricately carved raised relief with symbols and sacred animals representing a large group or “gathering” of Mesopotamian gods and goddesses. Kudurrus, sometimes referred to as “boundary markers,” were actually land grant documents used by kings to reward their favored servants. These monuments were set up in temples to record royal land grants. The full force of the Mesopotamian pantheon was utilized both to witness and guarantee the land grant by carving the symbols and sacred animals of the deities on the kudurru. In the shape of a cylindrical ovoid, this particular kudurru was not inscribed, perhaps because the person who was to receive the land grant died before it could be finalized, or because the king changed his mind and decided not to make the land grant after all. Each kudurru is unique; a good deal of variation exists in the number and choice of deities which appear.

Front: On this standing monument, the Mesopotamian pantheon is presented. The four great gods come first. Anu (“father of the gods” and god of heaven) and Enlil (god of wind, kingship and the earth), are shown as a multi-horned divine crown each on its own temple facade. Then Ea (god of water, magic and wisdom), is shown as a curved stick ending in a ram’s head atop a temple facade pulled by the foreparts of a horned goat. Above the first two deities, a female headdress in the shape of an omega sign, symbolizes Ninhursag (“mother of the gods” and goddess of fertility).

Reverse: The leading Babylonian god, Marduk, and his son Nabu, appear next. A triangular spade pointing up and a scribe’s wedge-shaped stylus, respectively, each sits atop a temple facade pulled by the foreparts of a snake-dragon known as a Mushus (Mushhushshu). All five temple facades float on fresh, underground waters known as the Apsu or the Deep. Following these divinities, we find the mace, perhaps a local war god, the scepter with double lion heads of Ninurta (god of war), the arrow, a symbol of the star Sirius, and the two-pronged lightning bolt of Adad. This storm god is called by the similar name Haddad in the Levant. The running bird Papsukkal (minister of the gods, associated with the constellation Orion), is followed by the scorpion Ishara (goddess of oaths), the seated dog Gula (goddess of healing) and a bird on a perch, symbolizing both Shuqamuna and Shumalia (patron deities of the Kassite royal family).

Top:The top of the kudurru, representing the heavens, is surrounded and enclosed by the body of a large snake. Nirah (the snake god) encompasses four astral deities the crescent moon of Sin (the moon god), a multi-rayed circular sun disc of Shamash (the sun god), a star inside a disc for Ishtar (the goddess of love -especially sexuality- and war) and the lamp of Nusku (the god of fire and light). Ishtar, considered the most important Mesopotamian female deity, is associated with the morning and evening star, the planet Venus.

having recently obtained the tales of zestiria world guidance book, i found the pages detailing the memories of the earth! they have pictures from the memories, and text next to them explaining what happened. it was actually super helpful to understanding what was going on in some of those pictures, so i decided to translate it!

it’s better read with the memories viewable to you, because it mostly acts as an explanation of what’s happening in each one. and please be aware there are major plot spoilers in here, so don’t read this if you’re avoiding those!

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Frank Deserto, aka Frankie Teardrop, has been a champion of obscure music, focusing heavily on the 80s post-punk, minimal synth, and coldwave scenes. He has been running music blog Systems of Romance for eight years, ripping and sharing obscurities from his collection and exposing a new generation of music fans to long, forgotten classics. Also a DJ in the NYC scene, his passion for the obscure knows no boundaries. He also is active in The Harrow, who will be releasing their debut LP on aufnahme+wiedergabe this November, with lead-off single “Love Like Shadows” coming this Friday, August 28th.

We’re excited to feature this excellent podcast from Frankie’s favorite archives, the first in what we hope to be a regular series. This particular installment focuses entirely on female-fronted projects, running the gamut from experimental industrial dirges to minimal post-punk, jumping between countries and continents with only the feminine mystique to string these songs together. Without any further adieu, click above to listen, with tracklisting and descriptions to follow below.

1. “Strange Girl”- Candidate (France, 1987, Side By Side 12”, Dum Dum Records)
Extremely minimal/coldwave duo from Nancy, kicking things off with a bleak babygirl lullaby. Vocalist Cécile would also provide backing vocals for Oto’s Purge An Urge LP.

2. “Caos”- Harry (Brazil, 1987, Caos 12”, Wop Bop)
Industrial inspired darkwave project from South America, whose members shared vocal duties across a small, but respectable discography.

3. “Walking Through Gardens”- Ghosts of Dance (UK, 1982, Ghosts of Dance 7”, Plastic Canvas Records)
The flip side of this UK band’s lone 7”. This five piece took their name from Japan’s excellent “Ghosts” cut, and would record several more tracks in a more New Romantic-inspired vein, culminating in a rare CD reissue in 1996.

4. “Stay With Me”- Industrie (Australia, 1983, H LP, EMI Custom Records, Australia)
An obscure treasure from down under, this is one of many highlights from Industrie’s lone LP. Released in 1983, the band was never heard from again. A shame, as Anne Fish was a true vocal talent.

5. “Whispering Sons”- Moral (Denmark, 1982, Whispering Sons K7, Ådsel Service)
The standout title track from this Danish three piece’s first cassette. This track also appears as a bonus track on Dark Entries Records’ recent reissue of their classic And Life Is LP.

6. “It”- Astaron (Austria, 1988, Lance the Ensemble 12”, Bugel Records)
Incredible female duo from Australia, who released one cassette, one LP, and this lone 12”, which is the catchiest of their discography. Haunting, rhythmic, and gorgeous, giving way to absolute cacophony by the track’s end.

7. “California Dreaming”- Denial (Australia, 1982, California Dreaming 7”, M Squared)
Bleak, minimal cover of the Mamas and the Papas classic single. Their only release, though a handful of other tracks were recorded under the Aural Indifference moniker.

8. “Grüne Augen”- Asmodi Bizarr (Germany, 1986, Sunsierra LP, Das Büro)
Roaring post-punk/goth band in the vein of Xmal Deutschland, also active under the name Aspirin. The band has been active again since 2011, performing a set at this year’s Wave-Gothik-Treffen festival.

9. “Release”- Indifferent Dance Centre (UK, 1981, Flight & Pursuit 7”, Recluse)
The b-side from an incredibly obscure, Factory-influenced post-punk 7”, self-released in a stamped paper sleeve with minimal information. Extremely DIY to the last drop.

10. “Tina Town”- Kas Product (France, 1983, By Pass LP, RCA Victor)
Classic French Coldwave duo from Nancy, a rare sensual moment in their catalog. Kas Product have since reunited and have played a handful of shows throughout Europe, including highly publicized appearances at Wave-Gotik-Treffen and Gothic Pogo Festival.

11. “Pushing”- Matador (Germany, 1991, Écoute LP, Moabit Musik)
All female German supergroup of sorts, featuring ex-members of Malaria!, CHBB, Einstürzende Neubauten, and Liasions Dangereuses. Matador formed in the mid-80s and released three excellent records and one 12” before disbanding in the early 1990s.

12. “Sensible”- Hedone (UK, 1984, Sensible 7”, Omgowa Power)
Obscure, melancholy post-punk from Bath. This is their only release, stacked with an equally great B-side.

13. “Nowhere Bei Mir”- Nicolle Meyer (Germany, 1983, Nowhere Bei Mir 7”, Virgin)
One-off single released under Nicole Tollmann’s pseudonym. Nicole was also a contributing member to the Fred Banana Combo, who recorded their own punked-out version of this track in the same year.

14. “Sudan”- Thick Pigeon (UK, 1984, Too Crazy Cowboys LP, Factory Records)
A Factory/Benelux treasure, recorded by the outsider duo of Stanton Miranda and Carter Burwell, with additional help from Stephen Morris and Gillian Gilbert of New Order. Thick Pigeon would release an excellent club-centric single under Stanton Miranda (“Wheels Over Indian Trails,” 1986). Carter Burwell would go on to contribute music to Raising Arizona, Psycho III, and Fargo, among many others.

15. “Morning Train”- Esprits Animaux (Netherlands, 1985, Whip of Passion 12”, Poppi Disk)
Lead-off track from this excellent 12”, the only one on the record solely featuring female vocals. Though the band was Dutch, their name is French, and translates to “Animal Ghosts.”

16. “Beautiful Diseases”- The Vyllies (Switzerland, 1985, Lilith LP, Out of Tune Records)
Another all-female group, this time a trio. Oftentimes appearing in shrouds and flowing dresses (their name invokes a Slavic folk legend), The Vyllies have a near-flawless discography and cult influence that spreads across the globe.

17. “Don’t Believe It’s Over”- Nocturnal Emissions (UK, 1988, Duty Experiment (1982-1984 Years), Soleilmoon Recordings)
Dark, mantra-esque demo from one of the UK’s most prolific experimental tape projects. Recorded during the band’s early years, it has since been reissued on several collections of the band’s work, achieving near-mythic status in an otherwise expansive discography.

18. “Bound By Silence”- Pink Industry (UK, 1985, New Beginnings LP, Zulu Records)
UK’s Pink Military was already a classic underground band, but from their ashes arose Pink Industry, a much more satisfying project, through and through. Jettisoning angular guitars and embracing the 808 drum machine, menacing rhythms, reverb-drenched saxophone, and Jayne Casey’s seductive vocals, Pink Industry would release three flawless LPs before splitting in 1987.

19. ¼ Circle Black- Turning Shrines (UK, 1985, Face of Another 12”, Temple Records)
Recorded by Fred Giannelli just before joining Psychic TV’s acid-driven incarnation (and released by Genesis Breyer P-Orridge’s Temple Records), this Turning Shrines 12” features four tracks of pre-dreampop perfection. This standout track (a highlight among highlights) was reissued by Mexican Summer in 2013, featuring a bonus re-recorded version of this track by Tamaryn and Lansing-Dreiden’s Jorge Elbrecht.

Made with SoundCloud
(Largely Unedited Reblog of my post on) Jedi Order Projected Numbers per a decade with 100.000 younglings recruited (a pittance)

I quote:

On all Republic worlds, newborns were subject to mandatory blood-testing to detect the concentration of Midi-chlorians in a sample. If results were returned with a high percentage, the sample was forwarded to the Temple on Coruscant for recording in the Division’s database, known as the Kyber memory crystal.

I hope you don’t mind spewing words all over this but MY MATHEMATICAL AND HYERARCHICAL HEADCANONS LET ME SHOW THEM TO YOU (and hope they make sense).

I’m also gonna put this under a cut because the post is huge as it is and I don’t want to bother people with my stuff!


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Pups - Wolf!AU ft. Chanyeol

Word count: 1174
Summary: That is one damn interesting way to get someone’s attention.

“Get your filthy hand out of my bag.”

You didn’t even turn around, the biggest reason being the fact that you are squished between the walls of the public transport verhicle and that highly dislikable woman who keeps pushing you into the wall.

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Hellenistic Gold Oak Wreath, c. 4th-3rd Century BC

A Greek Hellenistic diadem wreath comprising numerous projecting sprays of sheet-gold oak leaves in two sizes with serrated edges and veins, a large central rosette with two smaller similar roundels flanking, laurel leaves to the rear with gold Heracles knot, the four intersections covered by miniature gold masks modeled in the round with varying expressions, and four more to the bands of the knot; each element affixed to a custom-designed display stand.

The most famous of such wreaths is the example from Vergina, (MacedoniaGreece) in the tomb of Philip II of Macedon, father of Alexander the Great. Similar wreaths have been found all over the Hellenistic world in funerary contexts, as far apart as Asia Minor, the Black Sea coasts and Magna Graecia. The Greek writer Demosthenes (384-322 BC) noted that gold wreaths were worn for religious ceremonies, and the inventories of Greek temples and sanctuaries record that they were left as dedications by local men and women, foreign visitors, officials approaching the end of their career, as well as foreign powers seeking a favorable relationship. The oak leaves may symbolize the power of Zeus, who was often represented by the oak tree. This is a finely detailed example of the type executed with great skill.

By

http://archaicwonder.tumblr.com/post/107162361976/hellenistic-gold-oak-wreath-c-4th-3rd-century