Attrition ‎– All Mine Enemys Whispers - The Story Of Mary Ann Cotton

Label:
Projekt ‎– PROJEKT209
Format:
CD, Album, Limited Edition
Country:
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Tracklist Hide Credits

1 What Shall I Sing?
Electronics – Martin BowesPiano – Ned Kirby*Saxophone – Ute MansellVocals [Incidental] – Laurie ReadeVoice [Children's Rhyme] – Jordan Bowes, Naomi Bowes
6:52
2 The Burial Club
Cello – Erica MulkeyElectronics – Martin Bowes
7:31
3 The Reinsch Test
Electronics – Martin BowesSaxophone – Ute Mansell
8:04
4 The Trial
Cello – Erica MulkeyElectronics – Martin BowesPiano – Ned Kirby*Voice [Many Voices] – Laurie Reade
6:40
The Gates Of Eternity
Cello – Erica MulkeyElectronics, Sounds [Sewing Box] – Martin BowesViolin, Vocals – Emilie Autumn
(10:35)
5-i A Short Drop
5-ii Rock Of Ages
6 Heaven Is My Home
Cello – Erica MulkeyElectronics – Martin BowesSaxophone – Ute Mansell
5:05

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Credits

Notes

CD housed in a 4-panel digipak. Limited first edition of 1000 copies. Comes with a liner notes booklet and four reproduction Victorian poison bottle stickers. The first 200 copies of the album bought through Projekt's website had their booklets signed by Martin Bowes.

Album concept & initial recordings at The Cage (Coventry, UK). 2004-2006.
Additional material recorded at Chicago, San Francisco & Krefeld, Germany, 2006.
Produced, mixed & mastered at The Cage. 2007.
©2008 Seireenien Music for USA.
Licensed worldwide from Two Gods recordings.

Barcode and Other Identifiers

  • Barcode (Text): 6 17026 02092 1
  • Barcode (String): 617026020921
  • Matrix / Runout: A 7145 PR1486 F80116-10
  • Mastering SID Code (No IFPI Prefix): L384
  • Mould SID Code: IFPI 6100

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obsequious

obsequious

May 12, 2008
I am a giant fan of great concept albums. People that write great songs are fine, but I love the art form of creating an album. In my world, all albums would have consistent themes. Attrition's, "All Mine Enemys Whispers" is an example of such a concept album, and it is executed very tastefully, and with great talent. The album is about Victorian era serial killer, Mary Ann Cotton. I want to focus on the music, but you should definitely read up on the subject matter, as the story is quite fascinating.

Overall, this is a dark ambient style album with a lot of neoclassical elements. However, all of the instrumentation is very subdued, extremely dark, and quite ghostly. The piano work that is scattered about the album is very gentle, but genuinely spooky. The same can be said for the violin and cello work, which very slowly creeps around the mix. The subtle musical movements are really quite scary. The electronic ambient work is not quite as thick as what you might hear on a Lustmord recording, but does create a very tense and tortured mood. There is definitely a sense of evil here that takes place between every musical note.

It is hard to draw comparisons, but this might be of interest to anyone who likes Midnight Syndicate, Shinjuku Thief's "Witch Trilogy" or Jill Tracy's soundtrack to Murnau's "Nosferatu".