Daughter of Darkness - Disc 3

In a rare instance of concurrence, the track list of Disc 3 of the CD version of Daughter of Darkness is the same as Tape 3 of the cassette box set.  Both versions contain but two tracks, Santa Sangre and A Thousand Demons Invocation,  with the CD versions once again being slightly longer than the cassette versions.  On the CD, Santa Sangre is two separate tracks, Pt. 1 and Pt. 2, while one whole side of the cassette tape is simply listed as "Santa Sangre Part I & II."

The vinyl version of this part of DoD is a complete mess.  Santa Sangre is split onto two separate records - the second half of the B-side of Disc 4 and the sole track on the A-side of Disc 5.  The B-side of Disc 5 starts with The Source from Tape 2, and A Thousand Demons Invocation is split into two parts, the first of which follows The Source on the B-side of Disc 5 and the second half the complete A-side of Disc 6.  Yikes!

This is clearly the intense portion of DoD.  Santa Sange is mostly an unrelenting noise drone in the Night Coercion tradition and ends in a distorted guitar feedback frenzy - you can stream it on the YouTube upload or play it on Spotify.  A Thousand Demons Invocation is only slightly more organic but a little more varied.  The track comes galloping out of the gate but almost immediately slows down. Still, it's mostly layers of monster guitar echoes and feedback with some bells and chimes thrown in the mix, but it has more composition to it than the monolithic Santa Sangre. and if you make the effort to listen to some of the guitar playing through all the overlying layers of distorted noise, it can be quite interesting.  A little past the 16-minute mark, a single feedback tone signals the coda for the first half, but squealing layers of punishing noise are soon piled onto that solitary tone to create an even more chaotic passage.  This section comes to a sputtering end around 21:00 minutes, and the familiar NSB tribal drums and bells kick in for the first time in this CD to carry the feedback along.  This is probably the most interesting part of the disc.  Voices join in eventually and the guitar actually starts playing (gasp!) a melody by the time the piece ends after 29¾ minutes.

Spotify users can access the track with the widget above, but played alone, it drops you right into the middle of one of the noisiest, most chaotic moments on the entire piece, and isn't really representative of the whole.

Or is it?