What was it about the 80s that gave rise, in certain quarters at least, to a fascination with mittel Europa ennui, industrial soundscapes, flirtations with fascist imagery, gay musings on freedom in deviancy, which then all seemed to morph into a dark neo-folk? At the silly end of the spectrum this gave us Midge Ure vamping around Vienna on a chilly evening. More credibly we had Marc Almond’s solo work, and so on until we reached the scarier climates of Coil, Current 93, and, here, Death in June. No surprise that both John Balance and David Tibet made up part of the revolving group of collaborators on this, Douglas Pearce’s ongoing project.
For some reason the hardcore frequently favoured shaved heads and the liberal application of khol eye-liner.
The Wall of Sacrifice bookends a set of neo-acoustic apocalyptic folk - think Dead Can Dance with added doom – with two longer experimental pieces. The opening track is a relentless barrage of martial rhythms, triumphant horn flourishes sampled from old German marches, all driven forward by repetitive piano riffs. Not everyone’s cup of sturm und drang but music to these ears. The similarly epic closer, Death is a Drummer, conjures up more ghostly military music against a droning hypnotic pulse. The sparser acoustic pieces in-between may be a safer point of entry for the wary.
Oddi wrth y brawd
giddy giddy carousel