Love Is Colder Than Death "Mental Traveller" (1992)

 
Proceeding their sophomore Teignmouth, we embark on sullen strides of mournful brooding. Mental Traveller ventures into worldly vibrations, linked by language-less tones of morose suffering. A frequent chemistry between dawning strings and Susann Heinrich's burdensome singing, captivates a moody pre-technological tension. One will be transported with visions of rural hardship lived in the shadow of human sin. A sense of ancient culture and lost religion prevails through these belated downtrodden soundscapes. Perhaps an artifact of my imagination, their gradual groaning, building up to rigged percussive grooves, can't help but evoke this antiquated notion.

My main gripe with the record is its similarity too Dead Can Dance. Many ideas and paths walked feel closely modeled on their music. This feels most obvious when an occasional song shifts gears for uplift and reprise, a little tuneful medieval charm having the same tone and textures as the aforementioned. This is however what I have been seeking, Neoclassical Darkwave. Love Is Colder Than Death have just that. Their approach just lacks a distinction to provide conversation to the genre.

 The second half of the record pivots, Ralf Donis takes over, ushering in Industrial tinged drums that reveal their programmed nature. Like last outing, it leans Electro-Industrial on a couple of tracks, almost birthing some genuine fascination with a grim tone but falling short. Despite all my attempts, this one just didn't latch mentally. 

Rating: 5/10

Love Is Colder Than Death "Teignmouth" (1991)

 

A recent emotional plunge had me engrossed within the historical worldly sounds of Dead Can Dance again. Now armed with Spotify's magical recommendation algorithm, I'm turned onto more Neoclassic Darkwave music. Capturing the feeling of pre technological civilizations, Susann Heinrich's renaissance inspired singing musters a familiar burden, the crushing weight of biblical shame and life's hardships our ancestors once endured. Its wrapped in unease and tension, as suffering and gloom penetrates these songs mysterious beauties. Questo Mostrarsi embodies this religiosity as its funeral organs resonate with the sins of humanity, a world view that once enraptured humans across Europe just a handful of centuries ago.

When incorporating percussion and keyboards, its performances are stiff and jagged, often breaking its own spell to some extent. Jolting hysterical sounds jostle in on occasion, as if to create a haunting vessel emerging from the shadows. Its bold edges are enjoyable when embracing its vision but much of this amateurish tonality seems so close to something stellar, had its production been more organically cultivated. These bold, punchy sounds further their presence in the records second half when Ralf Donis steps up, his stoic singing lingers in the shadow of his peer. More electronic sounds bustle in, Ralf deploying snarly sneers and groaned vocals which have the music bordering Skinny Puppy's Electro-Industrial with Chorn. The following Wild World has its moment as the two styles find a gripping chemistry together.

A common finality of curation comes to mind. Teignmouth engrosses one in a cultured, religious, historical worldly spell but consistency pulls us out as its stark execution breaks the magic. Caught between two ideas and lacking the finesse to pull it off, this sits with me as a flawed record that can be loved for Heinrich's voice who pulls us into its vision. With that, I am certain more spins would grow fonder, however I am keen and curious to go down this rabbit hole with new tools of discovery! Had to blurt out my thoughts and move on swiftly.

Rating: 6/10