HOH/Current 93
Crowleymass

“Crowleymass” is perhaps the most bizarre thing that the genius of David Tibet has ever created in his career. Distinguished by the mythical cover depicting a Madonna holding a baby Jesus with the face of Alesteir Crowley, “Crowleymass” is now practically impossible to find, but it won't be a huge loss for those who appreciate the Current in its most typical form.

The EP, originally released in 1987 (on Alesteir Crowley's birthday!) under the name Current 93/HOH, collects three tracks born from the collaboration between Tibet and the imaginative Icelandic composer Hilmar Orn Hilmarsson (also known as HOH): a combination that a few years later will lead to the beautiful “Island,” dedicated precisely to HOH's native land, and among its priceless jewels, it will also guard the mad “Crowleymass,” here served in multiple versions.

A solid drum machine beats the time of a danceable pseudo-rap (!!!) with pompous, tacky arrangements, and animated by a strangely catchy chorus (“Don't give us no sass, or we'll kick your ass / cuz we're the heralds of Crowleymass”).

HOH puts together a nice catchy tune that recovers the esoteric origins of the combo by instilling Alesteir Crowley's rituals, bell tolls, and angelic counterchants in a sonic fabric that retraces the stylistic elements of the best synth-pop of the period. In such a context, Tibet's ungraceful and grotesque voice (in its most playful form, grappling with his increasingly personal and unconventional vision of Crowleyan doctrine) can only entertain. And the song as a whole, more than shock, will be able to evoke a sincere smile, at least in the most open-minded fans.

The following tracks are two variations on the theme: “As for the Other Side (Christmassacre)” reworks certain elements of the previous track in a techno version, while “Crowleymass (Mix Mix Mix)”, as the title suggests, is a remix that gives us “Crowleymass” in a more extended version enriched by significant instrumental portions.

Far more interesting is the fourth track, later added in the 1997 CD reissue, also the result of the brotherhood with HOH; a track probably included because, although for different and somewhat opposite reasons, it constitutes another completely absurd and disjointed episode within the discography of the Current: “I Arise” knows how to scratch and dares to venture into the rugged territories of heavy-metal (!), boasting a solid rhythmic base and the roar of an electric guitar that marries well with the menacing keyboards and Tibet's spirited voice, who finally returns to don outfits much more suited to him.

“Crowleymass”, ultimately, certainly has the merit of highlighting a new face of the multifaceted flow of David Tibet's artistic talent; alas, Current 93 will not become famous for “Crowleymass,” which remains the preserve of the most curious and understanding fans of the English eccentric artist.