The Great Old Ones - Al Azif

Yet another month passes without a sound from my lips, miss me maggots? My return is heralded by the Great Old Ones and their album Al Azif. What we have here is some incredibly beautiful atmospheric Black Metal with lyrics dealing with, you guessed it, Lovecraft. When you think of most bands writing music about Lovecraft you usually get chaotic, brutal songs about being dismembered by some horrible beast or losing ones mind to forbidden knowledge, but not so here. Many bands seem to forget Lovecraft's dream-scape stories: Atmospheric, almost ethereal like tales of other worlds and plans visited by dreamers. This is where the Great Old Ones come in. At their core this french act is still very much a black metal band; Tremolo picking, shrieking vocals, blast beats and all. Yet this certain piece of BM is a bit of a different brand. To be sure there is plenty of the "post" black metal influence that's popular these days to be found in here, but the band relies much more on the use of atmosphere and a slight sense of anxiety in their music rather than the melancholy/emotional-melody combo much of their french counterparts love to use. Each song slowly starts in with a soft melody that is slowly carried over into something either harder or more dynamic. At times Al Azif recalls feelings of an Alcest album or some other Neige-infuenced band but it's all part of the package and it doesn't ever seem like they are trying at anytime to copy their french bandmates. To longtime fans of post and atmospheric black metal, the tricks these french use wont really surprise but they will certainly entertain as they are all done very well and by people who really enjoy the music they're playing and its source material.

  My Love For The Stars

Muga - Self Titled

Time to break the depression cycle my Maggots and move onto Anger. Today I give you one hell of a crust hand grenade, Muga's self titled first LP. From Japan and recorded between 2002-2004 Muga takes Tragedy's blend of melodic as hell crust and, amazingly, improves upon it. What you end up getting is a meaner, faster, more varied beast of crust that's perfect to get up and mosh to. The production on this is perfect, clean enough to hear everything but heavy enough to give you that fantastic feeling of energy and anger we all love. They also trade off between male and female shouted vocals, which are always a win in my book and they give each song even more added intensity. The female vocals should be given special notice however, because they're just done so damn well. You don't have that "I'm a girl in a punk band shouting slogans" DIRT sounding vocals, no here you have one pissed off as all hell female making sure you can hear her anger. The band attempts to vary their sound up a bit by not just plodding away on d-beats either, rather you get some nice blasts and few sexy sludge-influenced areas to go along with it. All of which only further complement the assault of crust your being subjected to. Unfortunately, like many of Japans underground bands, there really isn't a lot of information floating around on these guys as they are all but absent on the web (They have a website, but all it offers is a few MP3s and flyers from their past shows). The information that is out there about them, however, is not very pleasant. The female vocalist/bassist on this album apparently committed suicide not long after this album was released, which lead to the band taking a four year hiatus. It's a damn shame that happened as I feel she added so much to the album and is sorely missed on the bands later material (Thats not to say its bad at all mind you, far from it). Since then they have released a demo, a split with SWARRRM and another LP in 2008. All of which are worth purchasing and checking out. Hopefully sometime in the future we'll hear from these crusties again, but for now enjoy this truly amazing slab of music they have given us.

Unleash Before Death

Nortt - Galgenfrist

Someday I may actually get around to posting something that isn't manically depressive, but unfortunately for you my little festering piles of larvae that night is not tonight. Instead, I give unto you the all-father of melancholy and nothingness, Nortt. I have a bit of a soft spot for him and this album I'll admit, but it's only because he's just so damn good at what he does (and probably the sweet ass cover art). And what is that some of you may ask? Creating some of the most bleak, depressing and yet oddly beautiful soundscapes you'll ever listen to. This is his third full-length and my personal favorite. Galgenfrist is damn depressing, I dare say even more than Loss's album I posted a while back and that's a very, very good thing. Basically this essentially IS funeral doom. To a T. Inhumanly slow riffs relentlessly pummel the shit out of your face as the kick and snare drum fall behind to pick up the pieces, slowly. There's really not a lot of melody to be found in these riffs, which are so fuzzed out it would make Jus Osborn blush. Instead the guitars and bass are used more so to create a very lonely, suffocating atmosphere in each track, which they do perfectly. Where the melody does come from, however, is from properly placed eerie piano pieces and creepy as fuck synth parts. They're not used excessively mind you and Nortt does a damn good job of making sure they add to the background atmosphere as opposed to taking center stage. Then theres the lyrics, naturally you can't really make out what he's saying from his tortured moaning and growling (which are quiet enough as it is) but they do a damn good job of conveying their meaning with how earnest they are. Truly an album worthy of wielding the mighty Doom Hammer, which it does with much sorrow. Pick this up and enter the world of Nortt.

Oh, and on the chance some of you think he's some ignorant bed-room hermit with no life, check out the interview link I posted, he did it about a year ago and the man's pretty damn smart.

…melancholy is a fearful gift. What is it but the telescope of truth?

Interview

The Eden House - Smoke and Mirrors

Been in a real goth/post-punk mood as of late so I hope my little broodlings enjoy this tasty treat of music. What I give you this Sunday is the album "Smoke and Mirrors" from Goth super group The Eden House. Formed by former Fields of the Nephilim bassist Tony Pettitt and Stephen Carey (formerly of This Burning Effigy and currently in Adoration) the group utilizes a revolving door of vocalists and guest musicians each of whom are all fairly big names in the current goth/darkwave scene. Monica Richards from Faith & the Muse, for eaxmple, is singing in the video I posted below. The album is basically one big Smörgåsbord of goth genres, tracks range from the gothic dirge style of Fields of the Nephlim to a more minimalistic cold/dark wave style of say Coctaue Twins or later Siouxie. Each track also features a different vocalist, of which all are women, and band line up (save for the bass and guitar departments which are always handled by Pettitt and Carey respectivly) which helps to give each song it's own personality and feel, something I really enjoyed. There is no real weak point in the album if you like this style,each track is as cold and as haunting as the last, probably due to the fact that the album dosen't really have a solid line-up to get stale with and each woman does a fantastic job of standing out in their respective songs without showboating or being overbearing. If you liked the Fields of the Nephilim album I posted here earlier, or are just simply a fan of cold-feeling goth rock then this is definitely an album you'll want to check out during your next séance.

To Believe In Something

Sarmak - Diycarsh

Tonight my maggots I give you Sarmak's (whom who may remember as the lead singer for Lycanthropy's Spell) only solo output, the demo Diycarsh. I'll say this up front, the production on this isn't pretty, but that's just another day at the office with Sarmak's music and all that does is simply add to the dreary atmosphere he is so good at creating. That said, everything else on this release is very well done. The style found here is much like Lycanthropy's Spell; Depressive, lo-fi melodic black metal. Where this release really shines and stands apart from other LS releases is it's length. One track with a running time of 25 minutes is all you'll find here, and a very beautiful piece it is. The entire song is apparently a tribute to Sarmak's homeland of Ichkeria and the extra time really let's him experiment with different influences and instruments, which he does so with much gusto. The first four minutes or so are your average plodding black metal but the song really begins to pick up after that with flute and acoustic guitar passages giving way to melodic black metal break downs. While this is nothing groundbreaking in the genre it is defiantly one worth listening to and remembering. Sarmak's musical outputs are unfortunately overlooked gems of the underground BM scene and this song is a very good example of why that should not be the case.

R.I.P. Sarmak

Wreck And Reference - Black Cassette

Tonight my maggots I offer you something a little different, but oh so tasty. Wreck and Reference's "Black Cassette" is an odd yet strangely addicting piece of shoegazy "post"-doom metal. If that leaves a bad taste in your mouth because it sounds like a bedroom group of hipsters playing with fuzzed out instruments and synths, you'd be somewhat correct. However, take a deep breath and trust that there is quality music to be found here and the overall atmosphere of the album is fantastic. What you basically get here is some uber-fuzzed out bass with live drums churning out some damn sexy drone-doom riffs with catchy shoegazy synth and bass effect parts added in for atmosphere and melody. It all melds together very well and the over all feel of the album is like that of wandering through an abandoned building. The vocals, when apparent, sound as if there being shouted (sometimes sang) from the back of the room during the recording. And while admittedly this is a bit odd at first, it quickly begins to show how it fits with the mood and song structures of the album. Over all this is a nice little piece of music to just fade out to at night while gazing at the stars, or just baked out of your mind. Your choice.

All the Ships Have Been Abandoned

Loss - Despond

Sorry for the gap in posting my friends, always seem to lose track of how long its actually been since I posted here. Anyway, today's slab of musical nutrition comes to us from Nashville, Tennessee in the form of Funeral/Death Doomsters Loss's first LP Despond. I had the pleasure of seeing these guys live this past weekend with Wolvhammer and YOB and I'm not gonna surgar coat it for you kids, this band is fucking depressing. And I don't mean the melencholic Pat Walker Warning/40 Watt Sun depressing where you wanna curl up and eat ice cream watching closer on a rainy day, I mean the "I want to tear my fucking veins out of my arms and stangle myself with them" kind of depressing. The band hammers and trudges it's way through over an hour of some of the heavist, nastiest doom riffs this side of the mississippi. On top of the pummiling, slow as hell drum and guitar riffs you have lead singer/guitarist Mike Meacham growling like satan's empty stomach (and thats putting it nicely) some truly disparing lyrics dealing with themes of lonliness, abadonment, illness and just all around depression. Very rarly does the man change up the vocals, but when he does it's almost as if another person entirly started singing. Theres a couple of black metal rasps thrown in and even a few clean vocal parts that do wonders for the atmosphere. The album isen't complete without melody either mind you, the bands other guitarist, Timothy Louis, does a damn fine job filling in the open chord drones with single note melodies and scales. Nothing too fancy ever happens with the riffs but they are all written and played very well and do a damn fine job of adding some sort of meoldy to this beast. All in all this is an album that would give Nortt a run for his money of being the most depressive bastard in Doom. Definitely Worth a listen (and to pick up on hard copy), just keep all the sharp objects hidden away while you do.

Cut-Up, Depressed and Alone

Disrupt - Unrest

Hello again my festering little insects, today I bring you something to fit that rage building in your soul at your fellow man. Disrupt's Unrest LP is one of the shining lights of early 90's crust. 30 Fast, brutal and fucking angry songs in a pro-nature anti-human mindset is what you'll find in this slab of musical destruction. The songs are faily simply and straightforward in nature but this is one of those bands that just makes that formula work for them. You wont find much of a d-beat presence on this album either, the band opts to go for the one-two bass snare combo ala 80's hardcore and instead the crustiness comes from the tone and sound of the guitars and bass as well as the lyrical content and gruff as hell male/female vocal delivery. This is in no way a bad thing of course, in fact it gives many of the songs a more aggressive edge due to the speed in which they play, some songs even borderline on powerviolence at points. It's one of those albums that, while by today's standards doesn't offer anything new to the genre, was made at a time when shit like this was still a fresh idea and you can really tell the band is letting their anger and aggression take over the music as opposed to the riffs. Pure passion and hate drive this album, a must listen for fans of the genre. It's a classic and one that definitely deserves all the praise it's gotten.



Human Garbage

Anna O - Self titled

Hello again my Maggots, todays slice of musical enjoyment comes from the pits of France's underground. Anna O is by far one of Frances best kept musical secrets. Claiming two members from the ashes of hardcore/scremo legends Anomie (who are amazing in their own right), Anna O combinds the ferocious female vocal melody of Anomie and sends it through Crust-As-Fuck filter which gives us four down tuned, angry, fast, heavy, duel vocaled crust anthems. The band unfortunatly never actually released anything, the only recordings were made in 1997 for a planned 7" that was eventually scrapped, which is truly disapointing considering the quiality of these four tracks. That and theres also very little information on the band or its members, the track titles were even lost. The only thing everyone seems to agree in knowing is that the members went on to form An-atta, a band that unfortunatly seemed to have shared the same fate with releasing only a split then disbanding, and others went to join various Scremo outfits. Reguardless, this is some damn fine melodic tinged Crust/Hardcore here and it's definatley worth a listen.

P.S. Having trouble getting the html to work properly, just copy and past the link to get a tast of what they sound like.

http://www.youtube.com/watch?v=8WKL7mdXl8U

Unreleased Potential

O. Children - Self Titled

This dreary morning feels like a post-punk kinda day my Maggots and as such I decided to give you something that, while fitting with the genre, isn't just another Joy Division rip off. O. Children, while obviously taking influence from the post-punk grandaddies, offer up an indie, almost Cure like atmosphere to their songs with each one's main focus being lead singer Tobias O'Kandi's booming deep voice (which is unique in and of itself). Don't let the indie tag I threw in there leave a bad taste in your mouth, these guys have way much more in common with their goth and post punk idols than say the Postal Service or Modest Mouse. Rather, they aren't afraid to be catchy and "poppy" (as much as their sound can allow them anyway) with their songs and one can easily see themselves hearing a few of these songs on the radio. That said, the whole album sounds like a grey rainy morning, complete with keyboards, simple bass-lines and melancholic lyrics. Catchy, dark, and beautiful all at once. Robert Smith would be proud and it's definitely something to check out when your done re-listening to all your Cure and Sisters of Mercy tapes.

I Am The Disco Dancer's Son

Corrosion of Conformity - Self titled

Here I give unto you my Maggots, the legendary C.O.C.'s newest album. This album finds the band without guitarist Pepper Keenan, but to be honest that seems to be a good thing. Without Pepper the band seem to have shifted gears away from their sludgy-southern sound in favor of returning to a more thrash oriented style ala their Animosity album. But for those of you enjoyed Peppers albums with the band (Blind, Deliverance, etc.) there is still a strong groove over the album. Only this time it's more of a doom kind of groove akin to the likes of Sleep/Saint Vitus as opposed to, lets say, Down. The band melds both styles perfectly, with each song containing elements of both so there's no real "Ah, this is there thrash and/or sludgy song" moment (With a few exceptions of course). Hearing another album done just by the classic lineup is a real treat also, and the boys do sound like they are enjoying themselves. It's awesome to hear Mike's vocals as the lead again and while not as angst ridden or ferocious as his younger days (and really, who can blame him?), the man can still sing very well. Here Mike goes the sing rather than shout route and his anger ridden croon comes off extremely well done and fits the mood of the music perfectly. The rest of the band is in top form also, the riffs are tight and the drums do a fantastic job with all the tempo changes. All in all this is just a damn good piece of metal, pick it up and down a few beers while these old timers show the kids how it's done.

What You Despise Is What You've Become

Christian Death - Only Theater of Pain

Sorry for the gap in posting my little Maggots, been busy as of late. Regardless let us continue our journey into the darkest corners of music with tonight's juicy morsel. I give you the album that pretty much laid down the guidelines for any and all Death Rock to follow. Regardless of what you think of Christian Death in their later years, little can argue the fact that this album captures the Death Rock feel and attitude to a T. You'll find both slow, menacing gothic ballads and plenty of mid-paced Death Rock riffs to get those dead bodies moving on the dance floor. The sound on this album is altogether mournful, painful, and oh so wonderfully depressive. Front man Rozz Williams is a god amoung the gothic sub-culture and on this album one can hear why so many revere him so much. His vocals are both crooning and downright borderline whiny but, amazingly, the man makes this work perfectly. The lyrics on this album are mainly anti-religious, but if you know anything about his upbringing, this comes as no surprise as this album was basically a response and rebellion to his parents religious ways. Yet, instead of sounding like some fifteen-year old basement virgin who hates his parents, Rozz's despairing vocals comes off as naturally as a man who is truly, deeply depressed and alone. He seems to let his emotions guide the flow of his voice rather than try and match it to the progression of say the bass or guitars, adding another layer of eerie atmosphere. Now that isen't to say that either of those departments (and drums for that matter) are laking, far from it. The drummer, George Belange, dose a great job of bringing both a fusion of punk rock and a bit of tribal style playing to the record, while Bassist James McGearty does Peter Hook proud by filling the album with melancholic yet catchy as hell bass riffs (Romeo's Distress is a perfect example). And then theres the guitars, done by none other than punk legend Rikk Agnew. If that name means nothing to you then I'll sit here and wait while you pop in the Adolescents' blue album and the first two D.I. albums.

Back? Good. Now we can continue with everyone on the same page.

The guitars on this album are exactly what goth guitars should be. Complimentary but not over-bearing but also not so ambient that it simply sounds as if someone is plucking single notes far in the back ground. Mr. Agnew definitely has the right feel for what he is doing, and it shows. Bringing his past punk experience to the table, Rikk bangs out Simple, eerie chords that ring out over a creepy, almost surf style distortion. They are solos, but they do nothing but add to the album as they are very tastefully done and are not drawn out in some attempt to show off the guitarist. The main ingredient on this album is undeniably the voice of Rozz but the band itself makes a perfect gothic soundtrack to show it off. Pick this up, burn a black candle and be prepared to bleed a bit for the grandaddy of death rock albums.

Mysterium Iniquitatis

Clubroot - Self Titled 2009

I have something a little different then whats been posted so far for my little Maggots today. I give you all Clubroot's self titled album from 2009, a magnificent example of dubstep that doesn't sound like robots fucking on cocaine. Yes instead of say some Skrillex inspired hyperactive "Mosh-step" nonsense, Clubroot delivers the goods with some calm, spacy and sometimes down-right eerie ambient dubstep tracks. I can't overstate how well these tracks work as nightly listening material, each track give off this feeling of wandering in a grey fog in the woods, or walking the concrete jungle of a city at night, not particularly lost but with no intentional direction either. I'm sure a few of us know that feeling quite well. As I said the tracks are more along the ambient side, with the dubstep influencing coming from the pace and pattern of the drum beats as opposed to the loud booming bass its usually affiliated with. That's right, there are no bass drops to be found here, but to be honest that's a very good thing. Instead be prepared to sit back and slam that plunger full of musical heroine into your veins as Clubroot demonstrates what it truly means to "Dub" electronically.

Low Pressure Zone

Candlemass - Death Magic Doom

Got a guest post for my little Maggots, from fellow miscreant of the night "Beardo"


A bold and upbeat riff, reminiscent of the best aspects of NWOBHM and Sabbathian doom, thunders from the speakers, and the keening voice of Rob Lowe gives the call to the doomy faithful to come and partake:
“If I ever die, I'm begging you, please come with me
We're gonna groove, into the blue
All the parasites, oh just leave them, pigs can't fly
There's no tomorrow, no regrets, no goodbyes”
“If I Ever Die” is Leif Edling’s proclamation that Lowe’s contribution on “King of the Grey Islands” was no one off replacement, and the evolution of style was here to stay and reign, leaving behind one particularly afro’d pig.
For anyone who cares what the music actually sounds like, departing from band politics, what we have is Candlemass taking their gloomy and medieval styled doom and consciously beefing up the riffing, by turns recalling chuggy mid-paced thrash and moments that suggest an influence from more recent developments in the sludge scene. The result is a lively, headbanging performance. All of this, of course, is topped by Lowe’s sneers and wails, which to bring to mind a desperate and denim-clad drunk, rather than a pompous friar.
All the same, this is by no means a full break from the Candlemass that was. The yellowed and papery pictograph of the cover gives the impression of aged paper, giving what is held within an air of age, tradition, an apostolic succession of the mastery of the secrets of doom. Lowe-era Candlemass is the inheritor and developer of previous efforts, and a damn fine job of it they do. Highly recommended. - Beardo

Death, Magic, Doom.

Lycanthropy's Spell - Two albums for lunar reflections

I figured it was about time I fed you kids some Black Metal, so here it is. Lycanthropy's Spell was a two man project from Belgium with Sarmak doing all lyrics, compositions, guitars, vocals and bass while Inferis handled the drum department. Unfortunately, the band was only active about two years as Sarmak died of heart failure in 05, but not before he left us with some truly amazing pieces of depressive black metal.What we have here is some uber lo-fi but insanely melodic and emotionally charged black metal. While this obviously suffers from production quality issues, don't let that hold you back from giving it a fair and honest listen. In fact, the low-fi fuzz seems to only add to the feeling of loneliness and hate that fills these two releases to begin with. The first album, Glorification of the Night is hauntingly depressing as the tempos vary from your typical blasted bm songs, to slow almost doom metal like dirges. The title track is an elven minute long instrumental hymn that does exactly what the title states, pays homage to that certain time of the day of which we are all fond of, while the rest of the album continues on with themes of nightly worship and chaos.

The second album I have included, "Misanthropic Visions" does its title proud by being filled with melodic yet furious black metal songs about werewolves and hatred for your fellow man. The atmosphere on this album is fantastic also, filled with acoustic passages and sound clips of war and howling wolves, it really attempts to drag you into the black pit where Sarmak's mind resides. It even contains a cover song of "Spokoynaya Noch" from the popular Soviet rock band Kino, successfully making the song even more depressing and sad sounding than the original. It's a bit more crisp sounding than G.O.T.N. (and more melodic in my opinion) and is probably the more "listener friendly" of the two but don't let that fool you, it's still very much a basement black metal album. But as I stated earlier it's that very "problem" that (along with Sarmak's depressive screeches) gives these albums a truly mystical and misanthropic atmosphere around them. Both albums are a must listen to any fan of depressive or melodic black metal and go best (obviously) when listened to deep within the nocturnal hours.

Glorification of the Night

Misanthropic Visions

Pisschrist - Victims of Faith

I have a rather tasty morsel for my Maggots today and it comes in the form of Australian crusties Pisschrist's second LP. What we have here is just straight up, no bullshit d-beat infused crust punk. You can forget the sexy crust melodies of bands like Tragedy and Momentum, you'll find none of that on this beast. Instead Pisschrist turns up ferocity and unleashes 15 tracks of Raw, fast, brutal crust punk in just under thirty minutes. However, don't let that make you think the production on this album is that of Disclose's quality. Far from it actually, the album packs a nice clear punch but still has that great fuzz factor of anger we all know and love. A perfect album for a night in with friends and booze, or if you just need to get ready to beat the living hell of out something (or someone).

Punk Is Love

Fields of the Nephilim - Elizuim

Ahhh Fields of the Nephilim, a personal favorite of mine. What I have brought for you today my little Maggots is their goth magnum opus, Elizuim. The album simply reeks of the occult and supernatural, all the while providing a very ethereal and goth fabulous sounding production. Lead Singer Carl McCoy's crooning voice and dreary lyrics only help further the ghostly feel one gets while listening to this album in the wee hours of the morning. The rest of the band on this album is fantastic as well. The bass is your typical 1980's goth style, playing simple, catchy bass lines that never seems out of place while the guitar and drums concentrate on putting the listener into a dream like state. Almost all the tracks are in the 5+ minute range and the tempos rarely get above mid-paced but that of course only adds to the over-all feeling of sadness and longing the album is obviously trying to achieve. There are, of course, your more "radio friendly" tracks, such as the catchy as hell opener For Her Light, but those moments are few and far between and more often than not you are left defenseless against Mr. McCoy and Co.'s relentless assault of gothic dirges filled with redemption, sadness, and loneliness.

Dead But Dreaming

An Evening of Horror (Three Soundtracks)

For our first post here on BFM I've opted to give you all three fantastic Horror movie soundtrack gems, perfect for those nights when you need some eerie mood music to go along with your grave digging/love making.


The first two come in one file together and, in my opinon, offer the most emotional depth despite being incredibly minimalistic. They are soundtracks to the films Nekromantik and Der Todesking. Despite the controversy and subject matter of the films (both films depict Necrophilia and graphic Suicides with Nekromantik still banned in some European countries) each films score is beautifully eerie and fits its subject matter perfectly. For example, when you listen to Nekromantik's synth and piano driven soundtrack, you almost forget what type of movie this belonged too. Instead, you begin to listen to each track as the emotions they represent with their sound. The compositions for this movie are all wonderfully done and as I said each gives off it's own specific emotion, which only amplifies the film itself if you are familiar with it. From powerful, woeful strings arrangements, to romantic and soothing piano passages this soundtrack tries its best to capture an alienated mans emotional trip through being shunned by society, finding bliss and ending ultimately in tragedy. A soundtrack that can definitely be listened to on it's own and takes no prior knowledge of the film to enjoy. Instead of being a piece of the film, the score itself is its own entity and story that uses the film to accentuate it's parts just as much as the film uses it.

The second soundtrack included is for the film Der Todesking. Following the same vein as the Nekromantic soundtrack this film favors string arrangements with dark ambient sounds over the piano laden Nekromantik. The result is less beautiful and more "constructed" but gives a much more sinister sounding soundtrack perfect for a film that focuses on the topic of suicide. However, there are passages reminiscent of Nekromantik (both films are by the same director) and as such they fit perfectly together seemingly flowing into one another as a single, macabre piece of music.

Finally, the third soundtrack I have brought you to feast on my little Maggots, is from the classic George A. Romeo film Day of the Dead. While not nearly as emotional (or beautiful for that matter) as the first two soundtracks, John Harrison's musical arrangement is a Horror movie lovers treat as he pays homage to the classic Italian horror themes made popular by bands and Directors such as Goblin and Dario Argento. The whole soundtrack oozes Goblin worship as new-wave sounding synths flow with the mood of the characters in the film. Compared to the first two soundtracks, this one may sound tame and even a bit comical to some but that's just part of its charm. In reality, what you get here is a very ominous sounding album that does a fantastic job of outlining the events and emotions of the film with it's music. And it's catchy as hell too.

Day of the Dead OST
Nekromantik & Der Todesking OST