Following a recent foray into the gruesome realms of Cannibal Holocaust, One Way Static has turned its attention to another form of flesh abuse, this time unearthing the score to Jörg Buttgereit's controversial 1987 necrophilia film Nekromantik. But despite the stomach-churning subject matter (not to mention some seriously NSFW album art), the no-budget soundtrack to this no-budget film isn't as grim as you first might think.
Featuring works from a trio of composers — Hermann Kopp, Daktari Lorenz and John Boy Walton — Nekromantik offers a surprising amount of depth, with each musician taking a noticeably different approach to their soundtracking. While Lorenz takes on a sort of regal but twisted Switched-On Bach approach, à la Wendy Carlos, Kopp embraces more sinister tactics, filling the majority of the record with ominous, off-key minimalism. This often comes via a mixture of viola, rhythm box and some seasick tape looping, creating a sort of organic industrialism that's discomforting but strangely intriguing.
However, the real highlights of Nekromantik come via the pair of piano pieces by John Boy Walton. Light, airy and romantic as hell, they are striking to say the least, sounding oddly familiar in a classic sort of way. In a sense, they are the complete opposite of the works of Kopp and Lorenz, serving as a reminder that Nekromantik is much more than just a flick about having sex with dead people.
While the soundtrack vinyl market is no doubt jam-packed at the moment, One Way Static has made every effort to make Nekromantik essential, expanding the score with previously unreleased tracks, adding a bonus seven-inch and even tossing in a playable flexi postcard featuring a cover of the Nekromantik theme by Norwegian Black Metal band Carpathian Forest. At its core, though, Nekromantik is simply a fascinating piece of musical work well worth the repeat visit.
(One Way Static)Featuring works from a trio of composers — Hermann Kopp, Daktari Lorenz and John Boy Walton — Nekromantik offers a surprising amount of depth, with each musician taking a noticeably different approach to their soundtracking. While Lorenz takes on a sort of regal but twisted Switched-On Bach approach, à la Wendy Carlos, Kopp embraces more sinister tactics, filling the majority of the record with ominous, off-key minimalism. This often comes via a mixture of viola, rhythm box and some seasick tape looping, creating a sort of organic industrialism that's discomforting but strangely intriguing.
However, the real highlights of Nekromantik come via the pair of piano pieces by John Boy Walton. Light, airy and romantic as hell, they are striking to say the least, sounding oddly familiar in a classic sort of way. In a sense, they are the complete opposite of the works of Kopp and Lorenz, serving as a reminder that Nekromantik is much more than just a flick about having sex with dead people.
While the soundtrack vinyl market is no doubt jam-packed at the moment, One Way Static has made every effort to make Nekromantik essential, expanding the score with previously unreleased tracks, adding a bonus seven-inch and even tossing in a playable flexi postcard featuring a cover of the Nekromantik theme by Norwegian Black Metal band Carpathian Forest. At its core, though, Nekromantik is simply a fascinating piece of musical work well worth the repeat visit.
