All songs written and arranged by loTH


loTH – voices

Marcin Kisiecki – Drums
Bartek Blumczynski – Keyboards, Pianos
Emanuel Nowak – Basses
Marcin Karel – Guitars, Piano


Produced by Loth and Bartek Magdoń except for “ Moral Cold” produced by Loth and Yoad Nevo at Nevo Audio Mastering Studios Unit 8 London, UK
Recorded at Recpublica Studios, between Feb. 26, 2012 and Sept. 19; 2014 Lubrza, and Zydram’s Studio, Wroclaw, Poland
Sound Producer Andrzej Karp, Sonus Studio, Warsaw
Enginer Assistant Michal Mashtal
Final mixes Bartek Magdoń, Intrepid Sound Hunters , Cracow, Lesser Poland

Pre-mixes Grzegorz Czachor, Tower Studio, Olawa, Poland
Pre-mixes by Yoad Nevo at Nevo Audio Mastering Studios Unit 8 London, UK
Art Directions,design and Photographs by Laredo at Laredo’s Studios, Poland
Cover Image “Venus Between Terminal Gods” by Aubrey Beardsley from “The Story of Venus and Tannhauser “ Reproduction permission The Higgins Bedford , Bedford, UK


To describe what I felt writing this album is to balance between kitsch, pathos and absurd. It is all terribly subjective. All in all however it shows the truth – my truth.

I was interested in a transition, in evidence of cyclical nature of certain events. Around me celestial and human bodies susceptible to feelings. Amongst them all – Venus, a goddess and a planet. On one hand we have an impalpable divine state which we are sometimes capable of experiencing. Identical to the one associated with communing with art; a condition of incoming, passing and fading away. On the other hand such a distinctly human state, strenuously tried and described by mankind.

Sometimes I would like to speak Norwid and Słowacki and yet it would not be enough to express what is inside me. Like Venus, sensual, magical, angry, lethal, beautiful, good and bad, boring and interesting, undiscovered and explored – capricious Venus. All passing and escaping into the void like a spot of a planet against the Sun, usually seen once in a human lifetime.

Apparent contradictions and inconsistencies of thoughts and emotions contained in this album give meanings to so many entities, sanctifying and multiplying them. It was an ambitious task to show the power and variability of human feelings and affection which I was never indifferent to and which mankind tries to explain looking up to the stars and the planets, searching for the rules in the inconceivable emptiness.

Whoever fights monsters should see to it that in the process he does not become a monster. And if you gaze long enough into an abyss, the abyss will gaze back into you”. Nietzsche paints an image of loosing oneself in the immaterial subconsciousness which can bring dire consequences in reality. Like a real life story of a young man from my hometown which I tried to portray in Cry For Me River. This man, who for a while featured on front pages of the newspapers across the globe, was convicted after a circumstantial murder trial. The only evidence was the book he has written after allegedly killing his wife's lover.

In Don't Give Up Your Mind I could not resist the temptation of describing the fading of desire and moving on to ordinary life, far away from former extasies. Revealed are the outlines of a new sad truth stripped of emotions, the truth as frustrating as the lies spoken out by materialistic Venus . Descenting from the pedestal of adoration and changing the point of view from idealistic to realistic cases pangs of conscience and repulsion towards oneself. Even the darkest of the nights cannot shield one from this disgust.

Betrayal. The loss of a very special person can be like a punishment. Yet the pain it causes is nothing in comparison to fear of loneliness and nothingness of one's existance. In Apparition I attempt to excuse it with momentary forgetfulnessand drunken amnesia only yo call things by their names in Moral Cold. Here, however, I was interested in the gradual decomposition of the psyche, the psyche which was once immensly sure of its power and stability. It is hard to say if the awakening took place because of the remorse or accidently discovered truth. It is not easy to see one's good name torn into pieces.

In Let Me Die I came to accept that death is not the only final solution and there is hope. By forever seeking the fullfillment of our desires we torture our souls. There is hope we might learn not to hurt the others in the process.

Forget the impatience, forget the hatered towards the world that fills Painful. Being suspended, awaiting, anticipating seems like eternity. Anything would be better than being alone with one's thoughts. In the darkest hour we seek safety even at the cost of lying to ourselves. It is tempting to think that nothing can be done. This is it.
Again, the amplitude of emotions, one great grey mass of awaiting. And here in System a vision of lovers as a closed circle. For lovers a momentary madness has to be enough, even if, like in Worth, the cost of it might be too much and it seems so old fashioned.

What would be the alternative? Maybe to shout one's soul out, scream and confess, as it has been done in Adelaide. Can it really be that only by using oneself to make the other person whole again makes sense? Or maybe just give up and subordinate to the masses at the cost of own desires?

Only when I can give happiness I am truly happy myself. I have to admit though, sometimes even that is not enough. In CSR I recall the oath taken after a loss of a person very dear to me. I am still discovering this person in tiny signs of nature and random people. Sometimes sentences, sometimes voices coming back. And memories.


ALL SONG PUBLISHED BY MUSIC POLAND REPRESENTED BY ZYDRAMS MUSIC CORP. ALL RIGHT CONTROLLED BY ZAIKS/SPAV, INC