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ARTiST....: chrome hoof
TiTLE.....: pre-emptive false rapture
LABEL.....: Southern Records
GENRE.....: rock
SOURCE....: cdda
QUALiTY...: VBR / joint-stereo
SiZE......: 73,4 MB
REL.DATE..: oct-06-2007
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01] nordic course 01:58
02] tonyte 05:31
03] pronoid 03:48
04] circus 9000 04:41
05] moss covered obelisk 09:03
06] leave this ruined husk 03:46
07] symbolik 180 degrees 02:46
08] death is certain 04:22
09] astral suicide 02:48
10] egg'n'bass 01:35
11] spokes of uridium 08:08
TOTAL TiME : 48:26 min
This band sound like nothing else you've ever
heard - well, more accurately, they actually sound
like a great many things you've heard before, just
never played all at the same time. Initially this
project was conceived as a bass and drums duo for
Cathedral bassist Leo Smee and his brother Milo,
giving the pair a platform to exorcise their
mutual appreciation of '70s funk and disco. Soon
they found themselves amassing new recruits,
winding up with a large-scale troupe of
multi-instrumentalists, and dedicated horn &
string sections. That more or less brings us to
this many-tentacled sea beast of a record. While
the Scando-metal influence is thankfully all
present and correct (see the operatic grindcore of
the album's opener), you're quickly thrown into an
entirely incongruous world of proto disco on the
blistering 'Tonyte', which boasts some seriously
fancy instrumental work and freakish, soulful
stadium rock female vocals . Further madness
ensues on 'Moss Covered Obelisk': after a brooding
neo-classical opening on piano and strings, the
track launches into some experimental jazz-rock
that nods to Zappa and Sun Ra with similar degrees
of irreverence. 'Death Is Certain!' is the most
evidently metal-themed track on the album, with
spectacular Nordic riffing and cookie monster
vocals. Wrapping the album up, 'Egg 'n' Bass'
drops some tight drum machine electro minimalism
before the prog-funk epilogue 'Spokes Of Uridium',
which makes like James Brown at a Goblin gig. It'd
be a unique experience to witness all this
business going on in a live setting. Even the
band's Parliament-meets-Gwar dresscode matches
their shameless genre-hopping. One of the
strangest, most riotous releases in recent memory.
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Buy me if you love me :)