NOSFERATU

This is the first of three soundtracks ART ZOYD did for those silent horror movies of the twenties. This one is for F.W. Murnau's 1922 released movie called "Nosferatu" which was based on Bram Stoker's book called "Dracula". Interesting that Stoker's widow sued Murnau for copyright infringement and won. All copies of his movie were destroyed although bootleg copies survived. The lineup on this album is the same as on the previous one "Berlin". I have to say off the top that this surpassed my expectations by a wide margin.This is incredible ! In fact i'd like to quote some of Kai Karmanheimo's thoughts because he says it so perfectly: "Dissonance is prolific, tonality itself unstable and hummability lies dead in it's coffin, but instead of chaotic and cacophonous, the music comes across as rigorously regimented and ruthlessly repetitive, with individual instrumental links subjugated and blurring together to create a singularly sinister impression". He goes on to say : "...it's the choice of timbres, the sizzle of sinister electronics, that sustain the music through minimilist episodes and obsessive repetition and makes "Nosferatu" more interesting in my ears than ART ZOYD's earlier, predominantly acoustic works that I have heard". So we get 17 tracks at almost 53 minutes and three bonus tracks from a ballet called "Vornange" they did a year earlier.Those three tracks give us over 17 minutes of excellent bonus material. Hourbette composed 8 of the tracks on "Nosferatu" with Zaboitzeff composing the other 9 songs.

"L'oef Du Serpent" opens with a dark atmosphere and percussion before this almost buzzing sound comes in. This is a powerful soundscape that will make you restless. "L'agent Renfield" is also dark and haunting before it calms right down. Strings before 2 minutes as it turns dark and creepy. Sounds like a beast is on the prowl. I don't think his name is Edward either. A calm with piano ends it as the danger has passed. "Le Voyage De Harker" is eerie with outbursts that are alarming to say the least. We start to get a rhythm that sounds like the train to hell. It's like your too afraid to move but you can't stay where you are. This is freaking scary ! Chimes on the next short track before we get to the wind blowing (it's like there's voices in the wind or is that my imagination) on "Le Chateau" with loud sounds coming and going. Then we hear the birds chirping 2 minutes in with flute, bass and strings to follow. Morning has come and the danger has again passed for now.

'Nosferatu" has these striking abrasive sounds with strings.This is all very disturbing. "L'oeuf Du Serpent II" is what i'm sure fear sounds like. "Rumeurs" opens with percussion and other unpleasant sounds, then that wind starts blowing again with those voices crying out in horror. Or is that my mind playing tricks again. "Rumeurs II" has lots of atmosphere and it's not enjoyable. Pulsating sounds on "Anaphase" and other creepy sounds that will make your hair stand up before "Le Maitre Arrive" takes over. Cold piano lines and vocal melodies early before it changes to a fuller and richer sound. Back to the keys and vocal melodies to end it. "Rumeurs III" has these deep throaty spoken words part way through before we get a children's choir with keys then sax. "Les Docteurs" is almost catchy with that slow rhythm. Samples of a woman talking and birds chirping on "La Peste". "Livre Des Vampires" is scary. "Anaphase II" is darker with percussion and sax. Powerful. "Le Maitre Vit Mort" is dramatic yet melancholic. Then flurries of piano with weird vocal samples take over.

I'll be breaking this out on halloween this year. I still think "Berlin" is better but man this is impressive.

Rough first week, huh? Well, hey, in these negative circumstances, how about I channel said negativity for a benefit, rather than a curse.

So, in terms of rock in opposition music, there are plenty of bands out there that are quite the enjoyable treat. From the jazzy Henry Cow, to the chamber infused Univers Zero, RIO has given us a lot of interesting bands and ideas to shape the avant-prog scene. One such band is Art Zoyd. They have a similar chamber style to that of Univers Zero, but I'd say they are considerably less rocking and more chamber when it comes to their musical stylings, which does quite make them a very unique band to listen to. Though, personally I will say that they're one of my more least desired bands to listen to. Whenever I get an itch, they do deliver somewhat, but some of their albums I just do not really like, at all. I do like some of their albums like Phase IV and Le mariage du ciel et de l'enfar, but other times they makes albums like Eyecatcher and Les champ des lames that just make me think?what? I am probably in the minority here, but I don't really get some of their stuff after Häxan. Heck, sometimes I don't get their stuff during what some may call their golden age during the 80s, as Nosferatu does fall in the camp of a pretty mediocre album for me.

Now, this album isn't a complete dud. I have something to praise for this album, namely four particularly tracks: L'agent Reinfeld, Le maître arrive, Rumeurs III, and Sleep No More. They're probably the best, and only real tracks I like here due to them feeling like they actually fully represent the whole of Nosferatu pretty well. A very avant-garde stillness that is both very haunting, as well as being quite enjoyable. They're not my favorite Art Zoyd tracks, but I feel like they hit a right mood for me sometimes. If anything Rumeurs III kinda makes me wish they made more Zeuhl-like music.

However, sad to say, but that is really the only enjoyment I have for this album, as the rest of it just feels like a confusing mess of ideas that just never work well for me. I feel as though they just don't really get Nosferatu as a concept, because the music that is meant to be scary just comes off as unnecessarily corny, or extremely dull.

Some of the more abrasive stuff makes me think they're trying to make weird clown music for no reason, especially with the keyboard tones that I am just not really a big fan of. It sometimes just feels like they're hyperbolically trying to be scary, and it just ends up being goofy. They're like making jumpscares in music form, and it just makes them look embarrassing.

The more quieter moments here are also bad to me but for the opposite reason. They try to be overly pretty or sinister, but they just never really land on that mark because they play too quietly for me too really notice and get a grasp on the music at hand. Like, on Anaphase I and II, both songs that just has no reason to be that quiet.

The worst part is that this could honestly work as a soundtrack in a way for the Nosferatu film, but only because it's a silent film, but even then the music is still either too abrasive or too quiet for me really, well, enjoy it. In fact, I bet it may make the movie worse off. Music can enhance any medium, whether it be books, movies, tv shows, etcetra, but sometimes the music just doesn't go well within a current situation and understanding, and I feel like Nosferatu by Art Zoyd is like that. Its mood music, but in a fashion that is far too within its own gimmicks that it ends up being one of the least favorable pieces of music from a band that I do think people should at least try out.

I don't like making negative reviews, but since I reviewed two other quite well known albums themed around Nosferatu, I figured to review this one as well. This is an Art Zoyd album I suggest you should skip, and if you want something that is both moody and can work far better as a soundtrack to a silent movie, their 1995 album of Faust is way better and more stylistically pleasing I'd say. Sad to say, but this album is quite disappointing.

Best tracks: L'agent Reinfeld, Le maître arrive, Rumeurs III, Sleep No More

Worst tracks: Anaphase, Anaphase II