Virus Magazin, Christian Ladewig
Meine Herren, vor ein paar Jahren hat man Freakgespräche über Italo-Soundtracks geführt und, auch ob der Nicht-Verfügbarkeit der LPs, auf Veröffentlichungen wie die, die uns jetzt regelmäßig aus der österreichischen Hauptstadt erreichen, gehofft. Drummer und Genrefan Alex Wank, hier mit dem in Wien lebenden Franzosen Alain Leonard an den Tasten, zollt den Scores zu Fulcis Haus an der Friedhofsmauer und – fantastisch – Über dem Jenseits Tribut. Man covert, bereits 1997, Musik aus italienischen Horrorfilmen. Das ist an Meisterlichkeit kaum zu überbieten. Gibt’s männlicherweise nur auf knackig limitiertem Vinyl, das dafür aber mit Postermotiven und in gelbem Splattermuster.
I’m fairly confused by this record from the outset. It’s got two shortish pieces (just over 15 minutes in total) on a 45rpm 12” which is on crazy-looking splatter vinyl with massive 7” centre stickers and plenty of striking and gory artwork. Anyway, as far as I can tell these are Italian horror soundtrack classics by Fabio Frizzi and Walter Rizzati/Alessandro Blonksteiner which have been reinvented by Alain Leonard (On/Off) and Alex Wank (Pungent Stench) way back in 1998.
It’s taken me so long to figure all of this out that the record is nearly over now so I’m going to say a thing or two about the Rizzati/Blonksteiner one from ‘House By The Cemetery’ first. It’s got quite a pumping industrial beat to it, lots of stabbing synth, and some horrific processed vocals. It sounds quite hyperactive and a little bit glitchy, almost bordering on some kind of ‘90s happy hardcore influence or maybe groove-metal types like White Zombie. In fact yes, this is reminding me an awful lot of White Zombie. Layered, grinding, groovy, pumping spook-industrial pop. Quite silly but lots of fun.
Anyway, on to the A side, which is their take on Frizzi’s dramatic and distinctive theme from Fulci’s zombie classic ‘The Beyond’, given a pumping John Carpenter-esque makeover with a slow-building insistent sense of panic for a quite exhilarating listen. I like this one the best but these are both entertaining, energetic and affectionate takes on the classic horror sounds.
A powerful tribute to the work of horror film director Lucio Fulci – served up in a package that’s even more striking than his original movies! The super-deluxe effort is way more than just a single – as the whole thing is wonderfully put together, with a solid feel of a full soundtrack – especially in the way the music recreates themes by Fabio Frizzi and Walter Rizzati from original Fulci films – all with very bold, spooky instrumentation that very much in the best Italian horror mode of the 70s! Way better than we even expected – and a record that’s a perfect complement to a collection of rare spooky soundtracks. (Totally cool, very limited package! Comes on very heavy mottled yellow vinyl, with a giant 7″ label in the middle – all in a heavy color cover and inner sleeve!) © 1996-2012, Dusty Groove, Inc.
Review by George Pacheko for Boston Examiner
The eager and upcoming Cineploit label has just added two limited edition vinyl releases to their ever-expanding arsenal of musical mayhem, inspired and influenced by the unique madness of Italian genre cinema.
The work of Alain Leonard and Alex Wank is comparatively progressive when it comes to the sound achieved on the duo’s tribute to the films of Italian gore godfather Lucio Fulci. Leonard and Wank tackle themes from two different composers on here, Fabio Frizzi’s iconic score to Fulci’s 1981 masterpiece The Beyond and Walter Rizatti’s creepy and atmospheric efforts for the director’s House By the Cemetery from the same year.
Leonard and Wank successfully filter the essence of Frizzi and Rizatti’s score into a psychedelic haze of beats, samples and effects, integrated seamlessly into the composer’s original themes and melodies. The effect as a whole is hypnotic and impressive, particularly in how both men have essentially manipulated these tracks into something which they can proudly claim is their own, twisted musical creation.
The most impressive aspect of these limited edition (350 pressed) releases, however, is how much care and attention Cineploit has clearly to the finer details, with both releases displaying a devotion to the artwork and presentation essential for winning over the hearts and minds of their fellow Eurocult fanatics.
Marcus Stiglegger für DEADLINE Magazin
Cineploit. Das für Horrorfans wohl spannendste Projekt dürfte Omaggio sein, die offizielle Hommage an den italienischen Horrorfilm der 1970er-Jahre. Auf einer 7’’ widmete man sich MAN EATER und IN DER GEWALT DER ZOMBIES, auf 12’’ dem HAUS AN DER FRIEDHOFSMAUER sowie der GEISTERSTADT DER ZOMBIES. Die Grundmelodien der Originalsoundtracks, deren Sounds und Beats bleiben erhalten und sind deutlich erkennbar, man hat bei diesen Coverversionen jedoch die Originale sorgsam mit zeitgemäßen Industrialelementen aufgewertet. Von Italo-Gothic-Kino zum Gothic-Dancefloor gewissermaßen. Beide Scheiben liegen auf farbig gesprenkeltem Vinyl vor.
Aaron von Lupton, Rue Morgue, Canada
Previously released a spart oft he 1999 Lucio Fulci Tribute CD „A Symphony of Fear“ the two tracks on this 12“ EP by Alain Leonard & Alex Wank (previously working under the name On/Off) function as unique interpretations of Fabio Frizzi´s „The Beyond“ and Walter Rizzati´s & Alessandro Blonksteiner´s „House by the Cemetery“, respectively. Using keyboards, samplers and beats, these are very different versions from the scores Fulci fans know. The Frizzi rework in particular is a big departure, sounding berderline industrial with a hint of Skinny Puppy. It wouldn´t be totally out of place in a goth club. Far better ist he Walter Rizzati side, which offers a hypnotic and psychotic electronic journey to the heart of „House by the Cemetery´s“ nightmare landscape. If there is one reason to get these recordings, though, it´s the packaging. Limited to 350 pressings, this EP boasts original poster artwork and movie images, and is pressed on unique splatter vinyl. To say Cineploit has taken care of the finer details would be an understatement. But be warned: this is nor fort he average soundtrack collector looking to top up his Fulci stash.