‘Law Unit’ is the latest release on Death Waltz Originals by retro futurists Umberto (Prophecy Of The Black Widow, Night Has A Thousand Screams) and Antoni Maiovvi (Yellow, Delta City). The resulting ten tracks explore the possibilities of early experimental, industrial music through disharmonious, reflective synths, determined apocalyptic percussion and the occasional suggestion of electric guitar.
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Antoni Maiovvi & Umberto joining forces is a logical move. Both have been working in the Horror/ Giallo/ soundtrack/ synth zone for the past 6 or so years and clearly have a common aesthetic and shared influences. Where better to release their collaboration than Death Waltz’s ‘Originals’ offshoot? Maybe Steve Moore was too cosmic to join the party that day...
I’m not huge on nostalgia in electronic music but really you’ve got to take this for what it is; there’s no pretense of pushing any boundaries, just two guys creating their vision of dark cinematic electronic music, a homage to the early masters, soundtracking the imaginary movie in your mind. There’s no clear narrative other than the artwork and track titles so really you’re imagination is left to run free. The label have alluded to 'Robocop' and 'Escape from LA' and the cover image is a very 80’s futuristic VHS style, so you get the flavour of where this is coming from. Sure there are moments and the odd arpeggio that recall John Carpenter and the like but really, cinematic element aside I think this collaboration has hit on something that stands alone as a record to be enjoyed in the same way you’d chill to and be chilled by something like Lustmord.
It would seems that neither producer would be out darked so they’ve gone the whole hog with gothic vocal drones, plenty of unnerving eerie synth, black drones, spooked strings, minimal haunting melodies etc. There’s even odd dancefloor compatible moments such as ‘Bonethugs’, presumably coming from Miaovvi who it would seem has unintentionally spawned Horror-step. While 'Defenestrate Thyself' is techno/ EBM compatible.
Both artists clearly work hard on their production, achieving a sound that has authenticity. So for example if someone had told me this was a rejected soundtrack for ‘The Running Man’ by some mythical Italian producer I’d have no reason not to believe them -- They’ve really achieved what they’re going for in that sense. But there’s also a flipside, in that if you told me a couple of the tracks on here were lost Coil recordings you’d probably have me too. Best consumed in darkness, naturally.
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