2.60GB .ISO file
Monday, January 17, 2022
Haezer - (2021) Fried Barry (Original Motion Picture Soundtrack) CD
Ship To Shore Phonograph Co. – STS-140-CD
Ship to Shore PhonoCo. is proud to announce the physical release of Fried Barry: Original Motion Picture Soundtrack by HAEZER! HAEZER taps into a parallel universe where Boards Of Canada melded with Brian Eno and produced nothing but Darkwave ambient nightmares with this score to the trippy South African comedy horror sci-fi movie Fried Barry, a motion picture that achieved much critical acclaim on its recent festival run. Fried Barry sees our titular character - a drug addict and ne'er-do-well - abducted and used as a living avatar for an alien being intent on going on a joyride through Cape Town to learn about the Human experience.
HAEZER's score becomes the beating heart of the film and is stuffed with enough bass pulses, electronic soundscapes and nerve-scraping string motifs to satiate any fan of dark ambient, film scores or experimental electronic music.
HAEZER's score becomes the beating heart of the film and is stuffed with enough bass pulses, electronic soundscapes and nerve-scraping string motifs to satiate any fan of dark ambient, film scores or experimental electronic music.
Repeated Viewing - (2020) The Family CS
Spun Out Of Control – SOS 050
Leave it to the maestro Alan Sinclair to elevate us all with a sickly sinister slab of synth. As Repeated Viewing, Sinclair has created a vast library of imagined scores to films that seem to have been torn from my own twisted imagination. As far as dark, heavy synth music goes Repeated Viewing raises the bar with each release; from the tense, era-precise sonic touches, the incredible pacing, the flawless narrative and world building, to the exquisite album art that Eric Adrian Lee creates that always captures Sinclair’s sonic vibe expertly every time.
With his newest release, once again partnering with the excellent Spun Out Of Control, Sinclair takes Repeated Viewing into the world of dysfunctional families, via of course a satanic biker gang. Coming out of coping with the lockdowns of 2020, The Family is filled with all the delightfully retro vibes of dusty late 80s video store rental boxes, this one scoring a story involving family tragedies, escaping guilt by filling the void with a far more sinister family(in this case a Satanic biker gang), and finding love in all the wrong places. Repeated Viewing has once again given us a score for a movie that doesn’t exist, but I damn sure wish it did.
The absolute genius of Repeated Viewing is the dedication to not only creating an engaging listening experience, but backing it with a narrative you can fall into. I’m mesmerized with each listening experience. Frozen Existence and The Beach are just two examples of Alan Sinclair’s incredible knack for measuring equally music with story. I use them because they are two personal favorites of mine. Those records lock tightly into their stories, which in turn makes me fully believe in the entire experience. There’s only a handful of artists within the heavy synth realm that do this right, and Repeated Viewing is an OG in this musical landscape. He’s the master of exploitation score work.
So with The Family, I poured myself a rather strong IPA, put on the headphones, and fell into this musical world. I could totally imagine Bruce Boxleitner as the protagonist, running from tragedy. I could imagine L.Q. Jones as the leader of the satanic biker gang, and Tuesday Weld as the daughter of L.Q. Jones’ biker gang leader whom Boxleitner found himself falling for. I could vividly see the dusty VHS box, with the Thorn/EMI emblem on the bottom right corner of the box, as well as that striking “Rated-R” on the bottom left. This would have been a rental I would’ve talked my parents into renting because of, well, satanic bikers and Tuesday Weld’s cleavage front and center on the video box art.
The music here locks into a grab bag of vibes and emotions. From the dark electro pop pulse of “Don’t Move The Body!” to the 80s strut of “Hitching” which strangely enough almost gives me a Mike Post/Law and Order vibe. “The Cult Is Real” goes full-on Francesco De Masi New York Ripper, which then explodes into an almost Gothic rock crescendo.
Sinclair mixes things up, giving The Family sonic roots in both 80s and 90s feels. “Daylight Raid” has sonic touches both in the neon decade and in the Clinton years, which makes The Family as a film concept much more fluid. “I Think She Likes You’ is all light and life, which is a satisfying switch from the more tension-filled pieces that came before. “Reverse Baptism’ is this free-floating ambient track, building emotional heft as the hazy skies clear to reveal light beyond the haze. Title track “The Family” closes things out with a driving, tension-filled finale.
The Family is yet another engaging, tension-filled sonic ride courtesy of Repeated Viewing. The Family is also further proof that Alan Sinclair, in an alternate reality, was one of our greatest genre filmmakers. On some alternate timeline Frozen Existence, The Beach, and The Family are cult classics that hung on the walls of small town video stores in the 80s. I’m sure of it.
OGRE - (2020) IV Gates Of Nessus LP
Library Of The Occult – LOTO 002
Ogre’s brand new long player Gates of Nessus, which is the second release from Tom McDowell’s Library of the Occult record label, is described as “ambiences and mood music for deep dungeon crawling, pen and paper RPGs, and cult paperback fantasies of yester-decades.” I’ve never dungeon crawled and was never much of a fantasy dice roller, but listening to the dark synths, sonic incantations, and wicked soundscapes on Gates of Nessus I think I’m sort of regretting that decision.
Robyn Ogden has built a musical fortress of darkness. It’s a place to enter and explore at your own discretion. According to Library of the Occult, Gates of Nessus is “Inspired by Gene Wolfe’s The Book Of The New Sun, Hidetaka Miyazaki’s Dark Souls, Kentaro Miura’ Berserk, Fighting Fantasy, Dungeons & Dragons, and many other great adventures.” You totally get the vibe of losing yourself in another world. Spells and malevolent creatures hover around every corner, while the shadows close in on you. Cobblestone walkways lead to underground dwellings where ancient rituals once took place. Left behind are the spirits and malevolence to hover in the air. It’s compelling with just the right amount of dread.
Gates of Nessus opens an entryway between here and the other side. “The Barbican of the Black Tower” marches into the darkness. Ogden captures a sort of timelessness in this opening salvo. “Harbinger” is a steady, plodding, sonic dread. There’s a touch of mania here that feels like walking into a new dimension. Lead track “Gates of Nessus” puts me in mind the music you’d hear in some late night horror flick you’d find on cable access. Mid-60s, so-so acting, but the technicolor picture keeps you watching. And the music freaks you out enough that you don’t want to get off the couch for that walk down the dark hallway to your bedroom.
Ogre’s sound on Gates of Nessus is vintage. It’s of the old school variety, complete with gauzy synths and lo-fi soundscapes. I’d love imagining some teens sitting around in 1979 in a suburban sunken living room playing D&D as this album plays in the background. It’s a perfect match, really. But then I hear something like “Winding Stairways” and I’m totally taken back to the mid-80s and playing Castlevania on the NES. There’s an 8-bit quality to these songs that puts me in mind of classic video game soundtracks.
Elsewhere “Antechamber(Beneath House Absolute)” is vast and gorgeous in its desolation. You can almost see the castle within the mist. “Benisons of the Nightmare Realm” locks into a mixture of Japanese folklore and Lucio Fulci, all in one. Album closer “The Court of Avern Flowers” lets us pass through the gates one more time, with more of an upbeat feel. As if we survived the night and can see the sunrise in the distance.
Gates of Nessus is another absolute stunner from Ogre. Wrapping fantasy and horror vibes into one Gothic album, Robyn Ogden gives us an engaging, darkly-lit masterpiece.
Robyn Ogden has built a musical fortress of darkness. It’s a place to enter and explore at your own discretion. According to Library of the Occult, Gates of Nessus is “Inspired by Gene Wolfe’s The Book Of The New Sun, Hidetaka Miyazaki’s Dark Souls, Kentaro Miura’ Berserk, Fighting Fantasy, Dungeons & Dragons, and many other great adventures.” You totally get the vibe of losing yourself in another world. Spells and malevolent creatures hover around every corner, while the shadows close in on you. Cobblestone walkways lead to underground dwellings where ancient rituals once took place. Left behind are the spirits and malevolence to hover in the air. It’s compelling with just the right amount of dread.
Gates of Nessus opens an entryway between here and the other side. “The Barbican of the Black Tower” marches into the darkness. Ogden captures a sort of timelessness in this opening salvo. “Harbinger” is a steady, plodding, sonic dread. There’s a touch of mania here that feels like walking into a new dimension. Lead track “Gates of Nessus” puts me in mind the music you’d hear in some late night horror flick you’d find on cable access. Mid-60s, so-so acting, but the technicolor picture keeps you watching. And the music freaks you out enough that you don’t want to get off the couch for that walk down the dark hallway to your bedroom.
Ogre’s sound on Gates of Nessus is vintage. It’s of the old school variety, complete with gauzy synths and lo-fi soundscapes. I’d love imagining some teens sitting around in 1979 in a suburban sunken living room playing D&D as this album plays in the background. It’s a perfect match, really. But then I hear something like “Winding Stairways” and I’m totally taken back to the mid-80s and playing Castlevania on the NES. There’s an 8-bit quality to these songs that puts me in mind of classic video game soundtracks.
Elsewhere “Antechamber(Beneath House Absolute)” is vast and gorgeous in its desolation. You can almost see the castle within the mist. “Benisons of the Nightmare Realm” locks into a mixture of Japanese folklore and Lucio Fulci, all in one. Album closer “The Court of Avern Flowers” lets us pass through the gates one more time, with more of an upbeat feel. As if we survived the night and can see the sunrise in the distance.
Gates of Nessus is another absolute stunner from Ogre. Wrapping fantasy and horror vibes into one Gothic album, Robyn Ogden gives us an engaging, darkly-lit masterpiece.
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