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1. The Temptation Of Saint Anthony
2. In Nomine Patris (You Never Pray Enough)
3. Dead Sea Song
4. Et Filii (Jesus The Swordfish)
5. Mavka
6. Et Spiritus Sancti (The Gipsy Judgement 2)
7. Sandstorm In Heaven
8. Amen
9. Midnight Prayer

1. Dream
2. Illusion Pt. 1
3. The Hope
4. Place Of Warning
5. Lullaby For The Wind
6. Illusion Pt. 2
7. Ruins 1
8. The Time Of Sacrifice
9. No More Suffering
10. Get Back!

Recorded and mastered at New Jerusalem Studio, August-September 2000

Design by Helena Dorsht / Vadim Gusis / NJStudio
Front cover picture by Step - "Dream" (oil on panel, 53 x 52 cm, 1993)

Many thanks to: Helena Dorsht; Elena Blinder; Vera Agnivolok; Shurik Waits; Step, Enot, Ninka, Anya; Gena Che; Vera and Valentine Kleyner; Oleg Marder; Grundik + Slava; Igor Ulanovsky; Eduard Petrov; Chet / Ruhr Hunter; Stefan / Troum / Drone Records; Matt / Rectrix / The Hollowing; Maciek / Ignis Records / Spear; Vince / Manifold / John Bergin: design assistance / special thanks to James Grell / CCA for the opportunity.

"...But do not think that as we had turned into the fire we should not feel hungry, for we were feeling hungry too much through we were fire." - Amos Tutuola, The Palm-Wine Drinkard

"According to the original plan, the sequence of worldly events required that man undergo at least some suffering before both he and the world could attain perfection." - Moshe Chayim Luzzatto, The Way Of God

I first heard Vadim Gusis’ Chaos As Shelter on the In The Shelter Of Chaos CD from The Rectrix, quite possibly the finest release from 2000. I garnered further enjoyment with the limited release, The Devil’s Brothers, from Ignis Projekt. Therefore, my expectations where high as I anxiously awaited this double disc release of promised dark sonicscape excellence. I suppose my expectations my have been too high, as the first two tracks on disc one, Midnight Prayer, failed to enrapture me as I wanted. Not that they are bad, quite the contrary, but there were slight elements (the laughter on “The Temptation Of St. Anthony” seemed almost of an amusement park/haunted house variety; the tones of the keyboards on “In Nomine Patris” did not ring as substantial…appropriate…something?!…). Of course, my initial hesitancy was unnecessary, as most everything here (including the aforementioned first two tracks–having now heard them repeatedly, they are more than worthy–quite intriguing, actually) borders on brilliance, if not successfully attains it! The world of Chaos As Shelter is one that escorts the listener into the enigma of the unknown nether regions of the earth, a tattered latticework of rickety scaffolding constructed across broad, mysterious plains of concrete and squalor. To continue with Disc one, “Dead Sea Song” maddeningly tramples through sewage across brick and mortar, the destitute remains of the crumbled dreams from above. A humming tone that somehow incorporates impetus rises to upend “Mauka,” before percussive rattling beats on the agitatedly buzzing textures of unknown origin. The mottled landscapes contain sparse textural elements, moments of brusque noise (but not of volume, per se, more of sensation, surging forth before slipping back into a hiding place), moments of scattered resonance, moments of uncertainty enveloped in curiosity. Though it may seem to meander, the music of Chaos As Shelter is never less than intriguing, flashing wild, flickering images of esoteric origin on the uninhibited cinema within the skull, as timbres of contemplation mingle with designs of an improvisational nature. Disc two, Illusion, is a dark sonicscape masterpiece! Though it is sculpted from similar sonic matter as Midnight Prayer, it seems to work better as a whole, a tightly wound spider’s web of intoxicating sounds that incorporate more colour, more darkness, a little dread, and much mystery. (Mystery is a key to the Chaos As Shelter sound, not darkness, not the forbidding or ominous, but mystery…) “Dream” is beaten with slippery wooden implements, the disparate tones skirting about, a sliver of strange buzzing inspiring an acoustic guitar to rise from the shadows. (This strange buzzing crops up throughout. I am reminded of the nefarious book, Necronomicon, whose original title is Al Azif, which means “book of buzzings,” or thereabouts…is there a deeper meaning to the landscapes that Vadim trespasses?) It’s just a few precious seconds of beauty, before the clicking of subway train tracks leads one deeper into the hollow earth. Tinkling chimes open “Illusion Pt. 1,” before more buzzing/humming arises, and brooding, heavy synths heave and swell, dispersing amidst clinks and scattered percussive tones that volley about. And the landscape breathes! And an unearthly horn blows… And a trace of something else (melody?–or was that just the wind speaking…?)… Unknown animals, distinguished by the clattering of their bony exoskeletons, scamper over moist concrete during “Place Of Warning.” The shadow of spirituality bounds off the gray walls, humming vocalizations (?!) of indiscriminate allegiance. “The Time Of Sacrifice” groans despondently, murky reverberant sounds that shimmer with an unhealthy glimmer, a jaundiced plague of sound, forbidding and born of eternal filth. Powerfully expansive work, inventive and infernally aligned. One of 2001’s best, no doubt! –JC Smith, Spectrum Magazine

Here are two full CDs of experimental music at its most experimental. With few vocals to help us out, we are urged to put all the pieces together ourselves and complete the puzzle. Sure, at times this kind of material is just noise and sound for the sake of noise and sound, but with songs titles like "Sandstorm in Heaven," "Amen" and "Jesus the Swordfish," I'm guessing there is a specific agenda here. There is a definite spiritual feel to the songs, but with few vocal cues I must say that I kind of missed the proverbial ark on this one. Either I'm just not up to date on my Christian folklore or I'm reading way too much into this, but two discs are a little much to sit through. The songs are, at times, very sparse and quiet, making you feel as if you were standing at the end of some long, dank pipe with every drip and drop resonating for miles, or you're in the middle of some foreign land unlike anything you've seen with not another soul around. Other moments are more "musical," in the traditional sense, with clearer instrumentation. A lot of it is in fact quite beautiful, but it inches closer and closer to redundancy as the discs proceed. There are times when some vocals, or even some Dead Can Dance-ish wailings, would be in order. You just keep waiting for something more to happen, but it all stays on the same even plateau for the most part. - Coreen Wolanski, exclaim.ca

People involved are:
Vera Agnivolok: guitar on 2.1
Elena Blinder: voice on 2.9

Vadim Gusis: the rest