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English duo
Necro Deathmort (AJ Cookson and Matthew Rozeik)
practiced the ultimate fusion on the mostly instrumental
This Beat Is Necrotronic (Distraction, 2009), a dense bleak work
rich in dubstep (Spilth) augmented with
glitchy electronica, rumbling bass and cosmic hisses,
acid-rock (Hurt Me I'm Bored), replete with the mystical suspense of
Pink Floyd's Set The Controls for the Heart of the Sun and the massive
riffs of stoner-rock,
shoegazing (I Fought The Law And The Law Won), a slow wavering crescendo of melodic guitar distortions,
musique concrete (Technicolour Minstrel Show), ignited by a formidable explosion-like drone,
dark ambient (I Can See Through Time) of a particularly black and
ugly variety,
industrial music (the eight-minute Return To Planet Atlas) of a quiet nature diluted in languid cosmic distortions,
drum'n'bass (Necro Effigy) with pounding martial overtones,
doom-metal (the brief Origami Werewolf and the endless
Ultimate Testament), one long
super-doom riff at funereal pace).
Foetus found his heirs.
Music Of Bleak Origin (2011) feels like the work of another band.
On one hand there are repetitive and monotonous pieces
driven by colossal bass riffs,
such as In Binary and Temple Of Juno, that aim for
pure melodrama with little or no imagination.
On the other hand there are pieces in which
electronic syncopated beats (whether drum'n'bass or dubstep or hip hop)
deter the most violent eruptions of sound, like
For Your Own Good. The problem is that the two modes rarely converge
and each of them suffers from a chronic lack of development.
The Colonial Script - III (Distraction, 2012)
was the more varied of the trilogy, ranging
from the rhythmic tornado of Imperial
(Pink Floyd's A Saucerful of Secrets
for the digital generation),
to the gloomy galactic trip of
Endless Vertex and to its
peak of macabre desperation, Theme From Escape.
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