Scorn ‎– Deliverance

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Cat# Artist Title (Format) Label Cat# Country Year
MOSH 78T Scorn Deliverance(LP) Earache MOSH 78T UK 1992 Sell This Version
MOSH 78CD Scorn Deliverance(CD, Single) Earache MOSH 78CD UK 1992 Sell This Version
MOSH 176 CD Scorn Deliverance(CD, Single, RE) Earache MOSH 176 CD US 1997 Sell This Version
MOSH 176 CD, IRS 996.176 Scorn Deliverance(CD, Single, RE) Earache, Intercord Record Service MOSH 176 CD, IRS 996.176 Europe 1997 Sell This Version
MASS 0430 Scorn Deliverance(Cass, Single) Metal Mind Records MASS 0430 Poland 1997 Sell This Version

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June 3, 2012
referencing Deliverance, CD, Single, RE, MOSH 176 CD, IRS 996.176
The first five tracks on this have already been reviewed elsewhere, leaving us just the last three to review. Three versions of the same track, which had already appeared on "Evanescence" and "Ellipsis" in more straight versions. These three are all remixed by ANDREW WEATHERALL, who uses a much more airy and ambient approach than that of the originals. Indeed, you might be mistaken for thinking that THE ORB themselves had some bearing on the first version which floats on the air delicately. The second, though, is a much darker and more evil interpretation, more akin to LULL or the "Murder Ballads" ambience, with lighter keyboards added to make it not nearly so Satanic. Only the third one seems to have any particular bearing to the original track with the percussion (mostly hi hats and cymbals) setting the pace for various bubbling synths and orchestral punctuations.
I gather not everyone was happy with this release and you can see why. I'm not saying the music's bad - far from it - but SCORN it ain't! Nice tunes, a little like THE THE in a spatial, ambient mood, but having none of the muscle of the other, older pieces here. Still, it's a good investment if you haven't already got a copy of the original.

Originally reviewed for Soft Watch.
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June 3, 2012
referencing Deliverance, CD, Single, MOSH 78CD
Although this passes itself off as a single, I have heard shorter albums (running time is 39'59"). The promo sheet compares their Dub leanings to CAN & early PIL, with the more Rocky comparisons to SWANS & YOUNG GODS. This is so, especially with the previous "Lick Forever Dog" single which, after the title track which was a bright, colourful GODFLESH-sounding thing with GIRA-like voice, tended towards dark, meandering but always adventurous Dub sounds with the JAH WOBBLE-like bass being the only steady motif. A friend of mine compared them to a slightly evil ORB, darker, more sombre, maybe even deadlier, but along similar tracks - steady bass-end rhythms held tight while the environment & atmosphere forever shape shift in changing shapes & hues. The single is quite a different kettle of fish. I had expected the same sound, perhaps advanced a little, but along the same lines. Judging by the titles, I also expected it - rather foolishly in hindsight - to consist of several remixes. Wrong! Instead this might easily pass for a short, dark & grisly concept album, using a single set of feelings as the leaping-off point. Play opens with the acoustically-weird drumming of the title track "Deliverance", seemingly recorded in a cardboard box, then 'excited' by hall reverb. This acts as cursor for the dark, brooding bass, the strange, other-dimension synthetics & fleecy guitar which move in gluey slowness - not so much dream-state as CLIVE BARKER nightmare-state. The music inspires images in the same colour as the cover - a midnight, metallic blue. Vocals are delivered through thick FX, it's humanity drained off & the remains vacuum sealed into a cybernetic shell. It doesn't try & create a tune so much as a disturbing 'feel'. "Deliverance Through Dub" takes the same track & uses creative echoes, 'dead' gates & interesting stereophonic panning to give the mood an even stranger feel. If the title track was darkly dehumanised, this takes a step or two further into arctic strangeness. It takes more or less every element from the title track & mutates to an extreme point, always interesting despite it's linear structure. "Delivered" opens on a clattering cascade of sharp drums, before collapsing into a drifting, amorphous non-beat piece which washes out of the speakers, susurrating like waves washing moon-lit rocks on a cold, potentially stormy night. This might make good incidental music to a film along the lines of "Tough Guys Don't Dance" or "Blood Simple" - chillingly gravid with potential danger. "To High Heaven" resurrects the "Deliverance" theme, pushing needles into the red with an exploding, up-front instrumental version existing in a state of frozen explosion. A noisier, larger, more dense & possibly shorter mix. And the single closes with "Black Sun Rising" - the title already used in the second track - which again is a shapeless, non-beat thing, a disturbing cacophony of voices repeating the title in never-ending downward helices, all combining to create twisted coils of Industrial noise. This shows just what can be done with voice and a few effects! And for those who are interested in the LULL project - see under SENTRAX PRODUCTIONS - "Delivered" & "Black Sun Rising" should give you a little taste of what lies on that album.

Originally reviewed for Soft Watch.