Habeeb

[SC016] Available from Somnambulant Corpse Recordings, PMB201, 15127 NE 24th Street, Redmond WA 98052, USA.

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THE Death Gate creaks open and yet another Somnambulant Corpse 3" claws its way into the musical daylight from the depths of god-knows-where. Habeeb is the brainchild of Larry Kerr, respected purveyor of Dark Ambience in the shape of Steel Hook Prosthesis, Black Moon Halo and Cyberblast Records. Contained in a plastic sleeve almost three times the length of the CD itself, one of Holbein's classic skeletal figures grin out from the pale blue cover in the certain knowledge that Death must ultimately catch up with us all. And such is the theme behind the three tracks on this recording, each of which amount to slightly less than 20 minutes in length.

The first, 'Massacres of the Innocent', arrives like a storm in a sewer, rumbling it's way through the imagination like a runaway tube train across a flattened spinal column. An occasional ringing can be heard rising and falling, before deep and muffled vocals penetrate the darkness and finally bring you to your senses. Well almost. And pretty eerie it is, too. The higher tones on 'Realms of the Living and the Dead' seem comparatively more mellow compared to its predecessor, but one minute later a brief and distorted shrieking upset the fluctuations that ebb and flow with a gentle persistence. During subsequent interruptions the volume is increased slightly before changing into a violent rush of electronic wind. And like the title suggests, there is a certain ambivalence to its nature and one can never be absolutely certain where it's going. Or, for that matter, whether it's actually going anywhere at all. Eventually, the main ambience disappears and the tumultuous background takes over completely. The constant tread of Life replaced by the turbulent reign of Death.

Finally, 'Keepers of the Death Gate' assumes a rather different form. Plodding and melodic, the strange vocals return to haunt the corridors of your mind. It's a fairground odyssey of warped sound, but still incredibly rhythmic at the same time. Together with a trio of crackling thuds, an accompanying triple bass beat plays havoc with the senses and almost overrides the terrific pitch that swirls in the background. Overall, this little excursion is a little on the short side, but at least it leaves you hungry for more. Hopefully, therefore, the Death Gate will remain open for a while to come.