Odd Oswald & Stephen Barnem
Science Cult Records
TBR: 28th May
This premier in the brand new picture disk series, Science Cult present another huge EP from Odd Oswald and Stephen Barnem. Entitled Horror Haus, this record has been made to represent the horror genre of film. Video nasties have evolved over the years but the basic formula has remained the same. Some people are scary and always have been. By designing characters that tick all the boxes for what people shouldn't be like we can conjure up all manner of villains. This soundtrack style release puts those feelings into music as we all know that it's the composition that makes the scene.
With a throbbing chunky bass-line, it begins on The Stalker. A thumping kick that's roughed up on the edges adds tempo to the thundering bass. New synthesiser adds even more dimension to the low zone as it twangs with bouncing rubber. Shrill zaps and chalk-board scratches start to regulate the upper area of sound. Piercing and unnerving harmonics line the corridors like watching eyes under shadowy hats. Drum fills and breaks then tumble through like unaware and happy people minding their own business. A vocal sample starts, insisting and frightening, a scream, then a frenzy of synth, bass, and drum.
A melodic sludge bass begins the next number. Smooth drumming begins on the ramps, sliding and grooving to the pull of sticky ground. Eerie chorus sounds begin to sing in wavering drones overhead while drums and synths build in complexity. More melody knits itself around the skeleton, wandering tones describe subtle shifts in the landscape. Nightmare progresses gently, an ever present tension lingers as the rhythm gradually rises and pulls us into the torrential weather. This is followed by an Elm Street Slumber Party Remix by Jensen Interceptor. It sounds completely different. Looped vocal samples break over scattered drums that slap and slam with fast rhythms. A chunky distorted bass begins to pound on the floorboards as an exciting and terrible atmosphere is kindled and set on fire.
When you flip the disk over you get Hammer. It begins with a robotic voice sample that repeats across a thumping kick. A oscillation bass adds another layer to the deep dance function of this track. The repeating motif continues to vibe as extra percussion gets slanted into the flow of rhythm. As everything builds from the basic and steady kick-drum and vocal sample, extra beats and breaking fills ripple and inflate the pulse. Synthesiser adds a subtle layering of harmony to the progressing bars as the fuelled and pumped sensation of motivation continues to thrive.
The final number starts with scratchy beats that rumble and bounce in an enclosed space. Synthesiser begins to drill a pitch through the body of rhythm before strange voice begins to trip over the first phoneme. Siren like notes swell and coil across the head-space before drums start banging and tapping with rapid breaks laced with cymbals and snare. This manic build of drums and resonant bass draws us into a thundering roll of drums that breaks free into a dancing pulse full of bass. Pink Nails stops and starts a few times yet manages to continue on an upward journey.
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