Umberto: Night Has A Thousand Screams
Back with another stunning set of horrorscapes, Umberto has produced an exuberantly blood-soaked and synth-splattered follow up to the nothing-short-of-genius ‘Prophecy of the Black Widow’.
Opening with sounds seemingly innocent, ‘Night Has A Thousand Screams’ soon gives way to sonics sinister and menacing, as some villainous beat is succeeded by swathes of fearful analogue noise. The simulated sirens of the arriving authorities whilst announced with bravado ultimately seem powerless and futile as the blood spurts with abandon across ‘The Puzzle’. On ‘The Investigation’ there’s a purposeful intent and propulsion, but a palpable menace still lurks in the shadows.
As the album moves on a series of crime scenes are investigated with different degree of forensic intensity: there seems to be something swirling with macabre fascination in the waters of ‘The Pool’; in ‘The Dance Studio’ sounds drip and pool; as a space of curious rejuvenation and relaxation ‘The Waterbed’ will be forever lacerated; and the ‘The Locker Room’ holds out further gruesome secrets. ‘Paralyzed’ doesn’t hold out any hope of solution as an ominous air swirls around the stalking arpeggiator. ‘End Credits’ mirrors the titles and tells of the whole grisly affair beginning again and again.