CLXXXII. Love Cult | Fingers Crossed

LOVE CULT
Fingers Crossed
©Public Information. UK, 2012.

"En el Noreste de Rusia (aquel inmenso país atrapado en la historia −para bien o para mal−) se encuentra la ciudad de Petrozavodsk, más cercana a la península escandinava que al centro de Rusia, esta región es conocida como República de Carelia. Y como esta no es una lección de geografía debemos decir que desde ese lugar viene uno de los proyectos musicales que (sobre todo este año) nos ha mantenido alerta en el laboratorio esquimal, me refiero a Love Cult, dúo (sentimental además) formado por Anya Kuts e Ivan Afanasyev, claro que era necesaria toda esa intro cuando estamos frente a una cración sonora aislada y distintiva a lo que solemos recibir. Por ahí en mayo reseñamos 2 de sus casettes anteriores, "Sobaki, Volki" (2010) y "Nebulaes" (2011), extasiados disfrutamos de esa oscuridad distante que sale del aparataje manipulado y de la voz-ondina de Anya que hipnotiza y te lleva de exploración por las honduras más alucinantes.

Ahora toda esa magia vuelve con este flamante primer LP, "Fingers Crossed" publicado por el sello londinense Public Information, el formato largo ayudará sin dudas para una mayor propagación del mantra drónico que nos proponen. Un trayecto que no es fácil de buenas a primeras, hay que estar paciente y agudizar bien las antenas, los espacios auditivos son siempre deformados, ya sea por grabaciones fantasmales (tomadas de alguna escucha en onda corta de madrugada) como en "Wall Rug", o por esa creatividad austera y repetitiva sacada de las sombras y el frío ártico ("Kantele"), el asunto es que la música de Love Cult se encuentra envuelta bajo un manto onírico, abstracto, como una visión borrosa de vivencia casi inconciente, perdida en los avatares de las estaciones, sin embargo la clarividencia sonora de la pareja nos sorprende con arrullos tan sútiles como la titular "Fingers Crossed", cercanos a este lago nos sentimos como en casa, de vez en cuando uno imagina un ambiente que extienda calma y plenitud, y los Love Cult lo consiguen en este nimbo ocultista y maquinal, el ruido como fuente de pureza profunda.

La última parte del disco se abre con el bajo palpitante de "Knoeledge", el canto de Anya flota en la ventisca de circuitos esparcidos por Ivan y las grabaciones espectrales de otro tiempo, cuanto tiempo en la aldea nortina viendo pasar los años y las acciones, alejados de las multitudes flagelantes, procesiones y fragmentos que siguen tras la lentitud de "Palinode", la desfiguración, el diseño no comunicado, el noise congelado de "Place To Get Lost In" nos despide sin temor al colapso penitente, sino que siendo parte del tornado, girando, soñando despiertos en la habitación de cristal."

Raúl Cabrera H.

CLXXXI. Naked On The Vague | The Blood Pressure Sessions

NAKED ON THE VAGUE

The Blood Pressure Sessions

©Siltbreeze. US, 2008.

‟Desde la isla de los malditos, cuna de agrupaciones marginales como The Birthday Party, The Church o The Triffids, hoy se desprende este nuevo engendro encantador.
Destinados a enfermar cada uno de los caminos acá cubiertos, este dúo de Sydney, Australia, formado por Cliche Cliche y 'The Worm' no dejan tiempo entre sus miniaturas ruidistas, en esa delgada línea en que cuelgan cada una de sus interpretaciones, siempre corriendo por bordes que dan hacia un gran despeñadero.
Armados de un a bajo, teclados y una caja de ritmos le dan vida a un disco debut espectral, "The Blood Pressure Sessions", muy alejado del sonido actual, ellos se ocultan tras un espacio atormentado y oscurecido.
Abren el disco con un tema que ya se quisiera Michael Gira para sus nuevos proyectos, "Old Leader" desprende un hedor antiguo como tomado del tiempo de la No Wave neoyorkina de comienzo de los 80's, primitivismo lacerante junto a unas voces de ultratumba que desconciertan, los temas suelen ser cortos, pero para que más, si todo se concentra allí, alma y corazón flagelados.
Pasando a "All Aboard" que debe ser el tema más 'alegre', pero anormal con esa percusión marcial y ese ruido infernal diseminado por un bajo quebradizo sonando como una guitarra distorsionada a mil, a esto sumemos el canto de Lucy Cliche que podría asociarse a la más hiriente Kim Gordon de "Confusion is Sex".
De aquí en adelante todo se vuelve más turbio cayendo a ratos en el post-punk aterrador de los Mars, hasta que aparece esa joya de tema "The Horse, He's Sick", te imaginas las guitarras depresivas de The Cure en "Pornography" junto a los ritmos de Death in June, cuesta respirar y es muy probable que este disco no suene en ninguna parte, por su abrasividad y porque para cualquier persona normal no pasaría de ser un mal rato que tuvo que aguantar.

Pero hay carne y hueso en el aire acá manifestado y eso es imprescindible en cualquier obra maldita que se precie de tal, con pista experimental y de distinción libertaria en este caso.
De hecho les cuento que este disco apareció originalmente el 2007 en Australia por el sello independiente Dual Plover y este 2008 lo tenemos con nosotros gracias a la etiqueta norteamericana Siltbreeze, especializada en editar noise, circuitería, drone, sonido deslavado y demases.‟

Raúl Cabrera H.

CLXXX. Passions | Passions CDr

PASSIONS

Passions CDr

©Disaro. US, 2010.

‟Maybe it’s just that I’ve been in a Wax Trax! cave for the past 24 hours (or, you know, 15 years) but this EP made me wonder: Would Dannie Flesher and Jim Nash have fallen all over themselves for Passions had producer/songwriter/etc. Ben Dietz been around in the label’s heyday? I think they would have, and I think Cabaret Voltaire would have loved him too, maybe even Bernard Sumner; Passions does, after all, sound like that theoretical project Ian Curtis and Genesis P-Orridge would have shared had things worked out differently.

Not that you could ever consider Passions a rip-off, or even that much of a straight-up rehash. Deitz (formerly known as Math Head, the Trouble and Bass dance wunderkind) is too brilliant a producer to allow anything he touches to be so bland. Passions suggests 80s industrial-disco for sure, especially opening track “Wrists”, but the way Giselle Reiber’s waft like vocals (buried though they are under an ocean of harmony) overlay the short, explosive guitar has far more in common with Cocteau Twins than it does My Life With The Thrill Kill Kult. What’s more, there’s an attitude here—a sort of lonely, washed out sadness—that permeates each detail perfectly, from the ghostly build of “Amnesia” to the panicked, claustrophobic synth accents of “Composure”.  Way to cram so much quiet desperation into one itsy-bitsy EP.

And weirdly enough, its itsy-bitsiness is both blessing and curse—if you count a bunch of crazy zealous fans as a curse. Though brevity is the soul of so much great music—and one of the most difficult and misunderstood elements—this is one of those rare and wonderful EPs that actually leaves me unsated.  I want more. Immediately. Passions is simply too dark, too emotional, too flat-out flawless and awesome, to simply push out of your head after 6 songs. I’ll be counting the minutes until the next release.‟

Mishka

CLXXIX. Paavoharju | Yhä Hämärää

PAAVOHARJU

Yhä Hämärää

©Fonal. Suomen Tasavalta, 2005.

‟My notion of "Christian music" was built from my experiences in church sermons and Christian summer camp and it's agonising acoustic sing-alongs about some deep philosophical insight about a cloth made out of rags. Thankfully Paavoharju doesn't take cues from that most of the time, but more from traditional finnish hymns, without the soul crushingly boring sermons.

Yhä hämärää is like listening to a cassette you found lying inside a table drawer inside a lone abandoned wooden house somewhere in the Finnish Carelian countryside on a cold autumn day. A soundtrack to some old loner's melancholic memories. From touching lo-fi post-rock - "Valo tihkuu kaiken läpi" being a prime example and top pick - to folk acoustics with glitch electro sprinkled on top. What comes to comparisons, Xinlisupreme comes closest with their more calmer tunes. (Indeed, some surfing on Paavoharju reveals them as a confessed influence.)

The album doesn't have any real flaws, some tracks maybe being a bit too vague to make them memorable. But as a whole, it's definitely an experience, the album also not suffering from "let's cram stuff in this CD to it's full capacity" syndrome, which is always a plus in my book. And it sure beats those annoying sing-alongs. Something even a confessed atheist can enjoy.‟

Cthulhu

CLXXVIII. Prurient | Black Vase

PRURIENT

Black Vase

©Load. US, 2005.

‟I've enjoyed the other albums from Prurient that I have heard, but this one... It's just too much. The album starts right off with absurdly high pitched feedback that continues for the entire 15 minute song. Listening to the entire first track is just plain masochistic. That's all I can say. There's some better moments later on, but it occasionally returns to the absurdity that it started with. On this album, Dominick Fernow succeeds in what was probably his goal: creating the most fucked up noise possible. Later in the album a cool, dark atmosphere is created that sort of draws the listener into the insanity. It's almost tormenting, but that's what makes it interesting. In the end, I really can't enjoy this album as a whole, but there are some good parts. If hell is real, this is probably what it sounds like.‟

 Master Ov Khaos



 

CLXXVII. Backworld | Come The Bells

BACKWORLD

Come The Bells

©Discalcula. US, 2011.

‟Backworld founder Joseph Budenholzer grew up in Nebraska, immersed in the rural lore and religious traditions of the region. He attended parochial school where he was taught by nuns to play the guitar for folk Mass. He worked for years at The Omaha Magic Theatre, an offshoot of The Open Theatre in New York, as composer in residence. Moving to New York City's East Village in the mid-1980s he performed at St Mark's Poetry Project and began collaborating with dance performer Brian Moran, aka Blood Boy, creating sampled soundscapes for confrontational Actionist assaults. This led to the Cinema of Transgression scene where he worked with filmmakers Richard Kern, Beth B, and Tessa Hughs-Freeland, and composer JG Thirlwell (Foetus). Eventually a series of collaborations with Lydia Lunch resulted, culminating in the double CD, Matrikamantra, a work of psycho-acoustic theatre in the form of a homage to Romanian philosopher poet EM Cioran. In 1990 he enrolled in NYU's Gallatin Division, focusing on Eastern European theatre, traveling to study in Russia and Bulgaria, and later touring Poland and the Czech Republic.

"I formed Backworld in 1993, owing to a passion for English folk music, certain aspects of 60s psychedelia, and Christian mysticism. I wanted to make music that could reflect these interests and hopefully be as spiritual and beautiful."

After joining forces with World Serpent Distribution (London) in 1995 four studio albums resulted, Holy Fire (1996), Isles of the Blest (1997), Anthems from the Pleasure Park (1999), Of Silver Sleep (2001) The Fourth Wall (2001 live at the Bloomsbury Theatre, London); and Good Infection (2007) Come The Bells (2011)

Backworld's albums and early performances at CBGB's 313 Gallery and the NYU Experimental Theatre Wing and more recent concerts at House Leipzig, Germany; Grandson Castle, Switzerland; Bloomsbury Theatre, and St. Olave's Church, London; St. Mary's Cathedral, Glasgow have featured a changing roster of players but the course is still steered by Joseph's constant vision. Arrangements of guitar, strings, percussion, flutes, electronics, revolve around lyrics concerned with ecstatic religious yearnings and otherworldly visions. Guest performers on BW albums have included Jarboe of Swans and Michael Cashmore of Current 93. In 2006 Joseph returned to NYC after three years living in Scotland where he recorded the bulk of 'Good Infection' released in 2007, enlisting the talents of Isobel Campbell (Belle & Sebastian, Gentle Waves), David Tibet (Current 93) and Drew McDowall (Coil) to contribute vocals and other textures to the sessions. Other notable collaborations include playing in Current 93 and co-writing and producing the Little Annie album "Songs from the Coal Mine Canary" with Antony Hegarty (Antony and The Johnsons).‟

Backworld

CLXXVI. Cult Of Youth | Cult Of Youth

CULT OF YOUTH

Cult Of Youth

©Sacred Bones. US, 2011.

‟Al parecer Sacred Bones Records nos sigue la pista o se tratará de una gran coincidencia de gustos musicales, no lo sabemos, lo único cierto es que cada placa que editan llega como delicado agasajo hasta nuestro congelado refugio esquimal.
Ahora enfocados en mostrar la creación agreste del proyecto de Brooklyn, Cult Of Youth con Sean Ragon a la cabeza, aparecidos a fines de la década pasada se mueven por las honduras del Darkfolk y los ambientes Post-Industriales.

Desde un comienzo este trabajo nos lleva por la gris marcialidad sonora de Boyd Rice y sus NON mutados por la locura de The Pogues, en "New West" la voz de Ragon se acerca a la vibrante insanidad de Shane MacGowan, todo adornado por el violín de Christiana Key en una cabalgata de rumor After Punk.
Para este segundo album Cult Of Youth se ha transformado en un cuarteto, con una robusta base rítmica a cargo de Micki Pellerano en bajo y Glenn Maryansky en batería, lo que redunda en un sonido más definido y poderoso que el de sus anteriores entregas, ahora son un cuerpo sólido manifestando con propiedad esa lujuria siniestra que llevan en su centro canciones como "The Dead Sea" y "Monster", el traspaso desde Crisis a Death In June o una especie de Swans en anfetas.
Ya más instrospectivos en "Casting Thorn" sentimos la oratoria maldita de Ragon bajo una atmósfera percusiva machacante, de a poco van subiendo de intensidades a base de violines espectrales y una guitarra acústica rasgada con desenfreno, al final todo se transforma en un fatídico vómito del corazón negro. Otro tramo purificador es "Weary" oscuros viajantes en la aldea bucólica de los tiempos finales.

Eso es "Cult Of Youth" un álbum apocalíptico y violento, una ceremonia nefasta.‟

Raúl Cabrera H.

CLXXV. Autumnfair | 1986 - 1989

AUTUMNFAIR

1986 - 1989

©Mobilization. US, 2002.

‟Autumnfair is a side project formed in the mid 1980s by Savage Republic vocalist/guitarist/bass player Thom Fuhrmann along with british bassist/singer Val Haller (Wayne County). Autumnfair worked with several Los Angeles underground notables, including Savage Republic bassist Greg Grunke, Biff Sanders (Motiv Studios, Ethyl Meatplow), Scott Feemster (Halo) and Caroline Topalian (supplying transendent vocals).

Autumnfair has an expansive and dramatic "Factory Records/4AD" sound. The project mixes drum machines, live drums, multiple basses, reverberant soaring guitars and powerful, dramatic vocals. These beautiful songs are haunting, evocative and chilling.

The tracks are a mixture of vocal and instrumental. A 10" EP was released in the 1990s by Independent Project Records, entitled Glaciers and Gods.‟

Mobilization

CLXXIV. Arditi | Omne Ensis Impera

ARDITI

Omne Ensis Impera

©Equilibrium Music. Portugal, 2008.

“We sing the praise of war. Not for the way it makes people die, but for the way it makes people come alive.”

‟The highly anticipated new album by the Swedish duo is finally upon us, under the title “Omne Ensis Impera” . The sense of determination that echoes through their music and which has brought them to the forefront of Martial / Industrial Neo-Classical scene has stayed untouched, evoking the sense of duty and commitment that Italy’s WWI elite storm troops, from which the name Arditi originated, were known for.

“Omne Ensis Impera” introduces an additional strength to Arditi’s compositions - epic orchestral loops and thunderous percussions are granted a more prominent role, stirring the damp and suffocating ambiance that the duo have always produced so well with their use of ominous synths, obscure speeches and mesmerizing narrations.

Similarly, shades of the Italian Futuristic movement of the early XXth century, which served as inspiration in the early days of the project, remain imprinted in Arditi’s work – “Omne Ensis Impera” could well be a modern interpretation of the Futurist’s goal of glorifying warfare to an artistic expression beyond its inherent violence and intrinsic sense of heroism.

“Omne Ensis Impera” has been mastered by Kamrat Nordvargr of Mz.412 and Toroidh, an old ally of the band. Nordvargr has also contributed with additional arrangements on a couple of tracks, and prepared a slightly modified track list, which will feature on the vinyl version of the album that will follow soon, together with a limited edition box set. The CD version is presented in a deluxe glossy Digipak, with embossed artwork.‟

Arditi

CLXXIII. Dark Sanctuary | Les Mémoires Blessées

DARK SANCTUARY

Les Mémoires Blessées

   ©Wounded Love. Italia, 2004.

‟De origen francés y formado en 1996, Dark Sanctuary ha sido uno de mis grupos predilectos y más aún, queridos. Si podríamos definir melancolía no a través de palabras sino a través del sonido como ejemplo, Dark Sanctuary estaría dentro de aquello. La belleza en cada nota, en el que el alma se regocija a través de cada minuto que dura este disco, la exquisitez de su oscura y sublime atmósfera, lo hace digno de ser oído por los dioses.

Sí, un sonido celestial, maravilloso que con cada elogio que escribo es poco ante el sentir de mi alma…

En fin, les dejo esta pequeña historia de la banda, sacada de Wikipedia:

La primera publicación de la banda fue un M-CD con una sola canción, Funeral Cry, lanzado en 1997. En aquel entonces, la formación constaba de dos miembros, Arkdae en los teclados y Marquise Ermia a la voz. En 1998 el grupo quiso aumentar su potencial añadiendo nuevos miembros, como otro teclista, Hylgaryss; un percusionista/bajista, Sombre Cÿr; y una violinista, Éliane. Juntos grabaron su primer álbum, Royaume Mélancolique y dieron su primer concierto, en septiembre de 1998 cerca de París. En noviembre de 1999 firmaron con la productora Wounded Love Records y poco después se les unió una segunda violinista, Marguerite, con la que grabaron su segundo álbum, De Lumière et d'Obscurité, hecho público en noviembre del año 2000.

Poco después de grabar este álbum, Marquise Ermia abandonó la formación para continuar con sus estudios, y una nueva cantante, Dame Pandora, se unió a la banda. El tercer álbum, L'Être las - L'envers du miroir, fue grabado durante marzo de 2002 y publicado a principios de 2003, unos meses después de haber sacado un single con dos pistas. Este álbum tuvo cierto éxito en Francia y Alemania.‟

Naska Elend

CLXXII. Various Artists | Neue Deutsche Post Avantgarde

VARIOUS ARTISTS

Neue Deutsche Post Avantgarde

©Goethe-Institut Brasil. Brasil, 1988.

‟This here is a wonderful Industrial various that has a bit of a back story.  This was made in Germany in 1988 for the Goethe Institute in Brazil (Sao Paulo). A pressing of 2950 was made for them.  150 copies remained for sale, while the rest was sent, and apparently "lost" (according to Monographie Asmus Tietchens)

Artists on this are S.B.O.T.H.I., Cranioclast, P16 D4, Gerechtigkeits Liga, Graf Haufen, Mullah, H.N.A.S., Cinéma Vérité, Frieder Butzmann / Thomas Kapielski and Werkbund. 

Neue Deutsche Welle!‟

Luca

CLXXI. Current 93 | Black Ships Ate The Sky

CURRENT 93

Black Ships Ate The Sky

©Durtro Jnana. UK, 2006.

‟Ya puedes tenerte por un bragado y poderoso matador de discos. Si se abre el chiquero y lo que sale es un pedazo morlaco de la ganadería Current 93, encomiéndate a Pedro Romero y a Joselito el Gallo, porque es muy probable que te den los tres avisos, el bicho se te escape vivo, encampanado y desafiante, y no hayas podido pegarle más que un par de mantazos, huyendo. Ni picadores ni banderilleros te servirán de nada. Como no entables una cierta complicidad con el bicho, a base de mimetizarte con él en lo que dure la faena de la escucha, vas apañado.

Si su voluminoso ¡¡"grandes éxitos"?? ("Judas as Black Moth") hacía a nuestro hombre más asequible que nunca, enfantizando sus momentos más "pastorales", aquí volvemos a las andadas. Perdida en la noche de los tiempos la fascinación por Aleister Crowley (¿o no?), Tibet es un predicador terrible que nos acongoja con la inminencia del Apocalipsis. Si tendía, en discos recientes, a un sonido más remansado y neofolkie, más ajeno al mundo de su eterno compadre Steven Stapleton (Nurse With Bound), aquí reaparece el gótico más tenebrista.

Tibet está convencido de que el segundo advenimiento de Cristo traerá una era arcádica, pero se recrea en el preludio terrible a tamaña bendición. Por cada rincón del disco, las fuerzas diabólicas y las ovejas negras combaten sin tregua con ángeles belicosos del Antiguo Testamento. A modo de paréntesis, hasta en ocho versiones distintas, las palabras hermosísimas de un poema del siglo XVIII (Idumea) cobran distintos y ambiguos sentidos (siendo las mismas) en función de lo que con ellas hacen el vocalista invitado y los arreglistas. Brilla sobremanera Marc Almond y cumplen con más discreción Antony (muchacho, ¿no te estás pasando con tanta ubicuidad?) o Bonnie 'Prince' Billy (idéntica duda, aunque el bueno de Oldham ya nos tiene más acostumbrados a ser el perejil de infinitos guisos).

El incontinente Mr. Tibet, din duda imbuido del carácter de mandato divino que hay en su prédica, nos endosa casi ochenta minutos de delirio, acción trepidante, remansos e infiernos en la tierra. Dado su ritmo de producción, reincidirá, sin que paeen mucho más meses, y seguirá aumentando su núcleo de incondicionales.

No es convencional, no es amable y no es acogedor, pero el mundo de David Tibet, extraordinario autor de textos alucinados/alucinantes, guarda recompensa, precisamente, para quienes conceden un generoso plus de respetabilidad a los artistas que no han surgido de ningún molde conocido, y que a nadie se parecen. En ese sentido, el caballero que se esconde tras el seudónimo Current 93 es un portento.‟

Khurcius

CLXX. Lycia | Estrella

LYCIA

Estrella

©Projekt. US, 1998.

‟The first time I heard Lycia, it was on a free sampler I received from Projekt, perhaps the premier darkwave/goth label of the 1990s, and perhaps the only label that was making a very serious attempt at following in the footsteps of esteemed British label 4AD. I don't remember what Lycia's song was, but I do remember that they sounded quite different than their labelmates, and that unlike other bands, they really didn't seem concerned about fashion or image, and the song sounded more like Aphex Twin than The Cure or This Mortal Coil. I thought their song was rather stunning and beautiful, but admittedly, I never did follow through.
Listening to the recently-reissued , the band's final album (and the first release in a Lycia reissue program), it's quite clear that Lycia was a different sort of band. The duo of Mark VanPortfleet and Tara VanFlower combined their strengths to make music that was haunting, beautiful and stunning, and in this goal, they were quite successful. Estrella found the band at a creative high, and the result was a record that lured the listener and took them into other realms of aural ecstacy. From the tribal "Tongues" to the Harold Budd-like "Clouds in the Southern Sky" and from the transcendent bliss of "Estrella" to the melancholy "The Kite," Lycia exploited the term "atmospheric" to the hilt--and the result was heavenly. Comparisons to The Cocteau Twins were and are inevitable, and while VanFlower's voice never quite reached to Liz Frasier's vocal heights--that's an impossible goal, anyway--her voice, in combination with VanPortfleet's stunning Robin Guthrie-inspired accompaniment, certainly justfied the comparison.
If you're not familiar with Lycia, Estrella is as excellent a starting point as you could find, because this record's beauty is a perfection that most bands could only dream of obtaining. Hopefully the forthcoming reissue series will illuminate this gorgeous darkwave band, and deservedly so.‟

Joseph Kyle

CLXIX. Various Artists | The Passion Of Covers - A Tribute To Bauhaus

VARIOUS ARTISTS

The Passion Of Covers - A Tribute To Bauhaus

©Cleopatra. US, 1996.

‟This one would've been hard to screw up. Who's not gonna jump in on a Bauhaus tribute CD? They have (mostly) good bands doing all the hits.

The Electric Hellfire Club's cover of "Bela" stays close to the original, as do several other tracks. Faith and The Muse's "Hollow Hills" is a reminder that any good comp sparks interest in the featured bands. Fahrenheit 451 and Eva O take "The Three Shadows (Part II)" in a fresh direction. (Now that Brendan Perry is pretty much retired, Athan Maroulis is neck-and-neck with Peter Murphy for Best Male Voice in dark music.) Black Atmosphere's "Muscle In Plastic" and Wreckage's "Largartija Nick" are the strongest reminders of the role punk played in early goth.

Two Witches' cover of "King Volcano" isn't as bad as others have claimed; it's a goofy song to begin with. The only real problem is that the singer sounds like he just had a novocaine shot. Makes you appreciate This Ascension's "In The Flat Field" that much more. "She's In Parties" continues Ikon's homage to Ian Curtis. Blade Fetish provides a perfect closing with "All We Ever Wanted Was Everything."

The "Multi-Image" cover is nifty, and the bands bring enough new flavor to merit the compilation. I'd give it five stars if it had Faith and The Muse covering "Silent Hedges".‟ 

Scott Sweet

CLXVIII. Delerium | Morpheus

DELERIUM

Morpheus

©Hypnotic. US, 1997.

‟This was Delerium before they found the newage/pop sound. I cannot say this makes the album any less artistic. What you have here is a gothic version of Front Line Assembly. Granted, FLA would add lots of elements of gothic and darkwave later on, we need to look at the timeline. In 1989 FLA had released "Gashed Senses and Crossfire" which was an EBM industrial album in the vein of Front 242. So this album is extremely fresh for its time and was radically different from Leeb's FLA.

The music is I guess you could say, gothic darkwave EBM. You really cant dance to it and is meant to listen to at those long nights alone. The music is extremely atmospheric, has almost no vocals, and plenty of samples, but these are not flaws. This is basically Baroque music in the industrial genre. The amount of Baroque influences are just increasingly high. But once again, this is a really good thing. Being influenced by Bach is never a bad thing. Metal bands do it and so does industrial music.

So in short this is a worthwhile release. If you dig FLA, pick it up. If you dig atmospheric music, pick it up. This is a sonic adventure that plays out like a single song with many moods and structures. Basically, this is a modern Baroque piece. 

(Recorded originally for Nettwerk in 1989 Canada, reissue by Hypnotic 1997)‟

Col Kurtz