Beautiful clip one of my lovely friends sent.  Here’s the info:

The Seven Deadly Sins » (trailer)
by Antoine Roegiers
from the drawings « The Seven Deadly Sins » by Pieter Brueghel 1559
music: Antoine Marroncles

Video Projection, Blu-ray, 18′30


Pop impressions…

Janko Nilovic - Prelude Jour Une Rose Noire
The Poppy Family - Free From The City
Rotary Connection - Magical World
The Left Banke - Sing Little Bird Sing
Waldir Calmon - Airport Love Theme
The Lew Howard All-Stars - Hula Rock
Pussy - All Of My Life
Waldir Calmon - Zorra
Pierre Raph - Jewel Thieves
Jack Trombey - Question Mark
The Makers - Don’t Challange Me
Morton Stevens - Beach Trip
Janko Nilovic - Blow Down
Shuggie Otis - XI-30
Piero Piccioni - Bora Bora
Jeff Alexander - Come Wander With Me


Technology/Transformation:  Wonder Woman by Dara Birnbaum, 1978.

This is a fair use archived version of Dara Birnbaum most prominent piece of high-art video from 1978 called “Technology/Transformation: Wonder Woman”. In the remix work she uses appropriated images of Wonder Woman to subvert the ideology and meaning embedded in the television series. “Opening with a prolonged salvo of fiery explosions accompanied by the warning cry of a siren, Technology/Transformation: Wonder Woman is supercharged, action-packed, and visually riveting… throughout its nearly six minutes we see several scenes featuring the main character Diana Prince… in which she transforms into the famed superior.”

More info about Dara Birnbaum can be found on wikipedia:

FAIR USE NOTICE: This critical and transformative remix video has been uploaded here for noncommercial educational and archival purposes. As such we believe it constitutes a fair use of any copyrighted material as provided for in section 107 of the US copyright law.

Secret Ceremony thanks our friend, Butch Huffington, for sharing this amazing video.

Celebrate the Vernal Equinox….Happy New Year!  

Sharon Tate as Odile in Eye of the Devil (1967).

Belbury Poly—The Geography, from Belbury Tales (2012)

BBC Review:   Jim Jupp’s latest LP rends the veil to the supernatural.

By Spencer Grady

Welsh author and mystic Arthur Machen is probably best known for his short story, The Great God Pan. This eerie narrative of abysmal medical experimentation and occult visitations has the scribe relating a series of unnerving happenings taking place at the peripheries of mainstream Victorian society. It becomes apparent that dark forces are scheming, tampering with the lives of mortal men. It’s a typical Machen scenario and a subject taken up by writer Rob Young in the short story that accompanies this, the fourth full-length from Belbury Poly, aka Jim Jupp. The Journeyman’s Tale recounts a standard visit to a village watering hole that ends with the chief protagonist wallowing in the froth of Bacchanalian debauch. Here lies the strange quasi-mystical inter-zone where the veil partitioning the mystical from the everyday is lifted, with Jupp’s music providing a temporary gateway transporting us from one to the other. For the first time Jupp has enlisted the help of other musicians: the addition of Jim Musgrave (drums) and Christopher Budd (bass and electric guitar) enabling arrangements—an amalgam of electronica, progressive rock and ethnological sounds— more complex than those previously featured on 2009’s astrologically-obsessed From an Ancient Star. These elements are employed during the odd enchantment of Cantalus, a miasma of spooked synth and black mass sighs which comes on like the Tomorrow’s World theme penetrated by an ancient Egyptian hex. This Eastern interference is also prevalent during Goat Foot where the heat-sodden rhythms of the souk are visited upon the rural idyll of the Suffolk coast. More Anglo-centric is Green Grass Grows, where a child’s voice delivers a pagan rhyme with a mixture of menace and wonder over the circuits of a misfiring ZX Spectrum. Imagine a combination of The Incredible String Band and Boards of Canada, and you won’t be far off. Elsewhere, Chapel Perilous wigs out on a Can-like groove, launching cascades of backwards guitar chicanery and tumbling horror tones. Like the majority of Ghost Box releases, The Belbury Tales is infused with a deep vein of paranoia, a palpable fear, an attempt to reconcile the imminent unknown (evoking a reimagined or never experienced past). But whereas previous albums have alluded to the grim spectre of the Cold War, this time around the spooks appear to be a little closer to home.


“It seems to me that the past is always happening now. In the present we are always memory.” Trish Keenan

(via capturedunderhypnosis)

Kaneto Shindo’s Onibaba (1964).

Deep within the wind-swept marshes of war-torn medieval Japan, an impoverished mother and her daughter-in-law eke out a lonely, desperate existence. Forced to murder lost samurai and sell their belongings for grain, they dump the corpses down a deep, dark hole and live off of their meager spoils. When a bedraggled neighbor returns from the skirmishes, lust, jealousy, and rage threaten to destroy the trio’s tenuous existence, before an ominous, ill-gotten demon mask seals the trio’s horrifying fate. Driven by primal emotions, dark eroticism, a frenzied score by Hikaru Hayashi, and stunning images both lyrical and macabre, Kaneto Shindo’s chilling folktale Onibaba is a singular cinematic experience.