8/16/12
Out Ov The Coffin - podcast
http://outovthecoffin.blogspot.fr/2012/08/podcast-august-10th-2012.html
Review on the Crucial Blast e-shop
The first disc A Night begins with a weirdly nostalgic piano piece laced with the sounds of pipe organ and buried dialogue samples from the opening graveyard scene in Romero's original Night Of The Living Dead; this soft instrumental music is gradually overtaken by waves of rough static and low-end distortion, until it eventually transforms into a wall of distorted rumble and crackle, sort of resembling Werewolf Jerusalem for a couple of minutes until a crunchy pulsating synth-line drops in amid clanking anvil percussion and metallic roar, building into this pounding electro-dirge that has a sinister Goblin-like vibe. Much of this album centers around a heavily layered form of rhythmic industrial music that combines equal amounts of clanking, whirring mechanical rhythms with electronic synthesizer arrangements that remind me a lot of older horror movie soundtracks; it also reminds me of some of those old, obscure UK hypno-industro groups that released stuff on HeadDirt in the early 90s. The rest of the disc goes from fluttering synth noises and high keening test tones that take on the appearance of warning sirens, to blasts of black cosmic horror-electronics and vast, sprawling expanses of seething death industrial, to the minimal and menacing "The Cellar Is The Safest Place " that echoes John Carpenter's early 80s film score works. Then there's "A Shot In The Head, A Heavy Blow To The Skull", where some extremely heavy distorted guitar sounds come in, huge grinding squalls of metallic blown-out melodic crush, almost like waves of Nadja-style blissed-out ultra-sludge crashing over the hallucinatory samples and mechanical rattling.
Disc number two picks up with Dawn Of The Dead as its muse, and interlaces samples of dialogue and music from that movie into the grim industrial ambience that spreads across the whole disc. This is described as the "ambient" disc in the set, and that's pretty accurate; the music on A Dawn drifts through dreamy drug-fogs of electronics effects and air raid sirens and malfunctioning mainframes, often taking big chunks of Goblin's score and re-working it into a vastly more fucked-sounding form. By the third track I was already dizzy, disoriented by the swirling Italo keys and analogue bloops and random noise. This also has some of the set's heaviest sounds, like the buzzing distorted guitar-drones that ooze like black streams of Sunn O)))-baked tar on "They Know We'Re Here" and suddenly transforms this into a crushing drone-metal dirge.
My favorite though is the third and final disc titled A Day. This features the most rhythmic material of the set, tracks like "They Rise" and "More & More Every Day" sounding like a strange sort of electronic pop, with hooky synth melodies laid out over pounding industrial rhythms and booming tribal drums, super catchy but still possessing that dark apocalyptic vibe of the previous discs. The catchier music will also suddenly transform into a lumbering bit of splatter soundtrack work, and most of the tracks end up sounding a LOT like contempo giallo-programmers like Gatekeeper and Umberto. Not all of this is like that though. There's still moments of bleak wasteland drone-burn and passages of rumbling death ambience found among the pulsating electronic pieces. It's all about the sinister 70s/80s electronic soundtrack sound overall, and fans of the recent wave of bands mining retro-horror OST grooves would probably love this.This killer horror-industrial epic comes in a six-panel gatefold jacket, and was released in a limited edition of 2,000 copies.
http://www.crucialblast.net
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