���A long out-of-print horror-prog obscurity I've been hunting after for awhile; back before everyone and their mother caught the horror soundtrack bug, the classic creepazoid symphonies of 80s Italian splatter cinema had long been worshipped by denizens of the black metal underground, and one of the more interesting homages to emerge from that crowd was the short-lived outfit Enoch, a duo comprised of Necrophagia frontman Killjoy and Sigh mastermind Mirai Kawashima. These guys released their one and only album Graveyard Disturbances (an ode to Lamberto Bava's teeth-grinding haunted funhouse adventure Una notte al cimitero, perhaps?) in 2004, and it's total Fabio Frizzi worship, not too far off from what artists like Umberto have been doing lately.

���These guys clearly know their stuff, too - Enoch don't go out of their way to mimic the vintage sound of those early 80's soundtracks, but their instrumentation is kept suitably sparse, allowing lots of room for Mirai's keyboards to creep and swoop through the boneyard passageways that run through the album. Mirai's psychedelic keyboards are also combined with some sinister industrial touches, and there's an eerie, jazz-tinged feel to some of this stuff as well, with understated electric piano, chimes and menacing whispers on tracks like opener "Dominion" evoking the surreal feel of classic Fulci films. The pulsating funerary synths and church organs of "La Chiesa Di Anime Perse" likewise evoke classic Frizzi, especially when those symphonic strings and warbly choral sounds suddenly kick in; at the same time, Mirai's signature Hammond organ sound is all over this, echoing his work on Sigh's Imaginary Sonicscape. There's bombastic blasts of low-fi orchestral power, swells of ghostly theremin and whirring shortwave-like electronics, bursts of abrasive noise and creepy trip-hop tinged tracks like "Oracle" that layer those sinister piano melodies, choral voices and Morricone-esque strings over slow, creeping breakbeats. Other tracks like "When Wings Lie Broken" offer demonic soundscapes filled with whirling primitive synth noises and surges of deep, malevolent bass, or slip into ghoulish carnival fantasias, excursions into nightmarish industrial music and warped liturgical chanting, tribal drums and environmental recordings of running water swirling beneath vintage Moogscapes.

��� It's all hugely influenced by the murky graveyard prog of Frizzi's City Of The Living Dead score, a bit stranger, grittier, more primitive than bands like Zombi or Umberto, but definitely coming from a similar place. The disc also contains a grainy, low-fi music video for the track "A Tribute To Sanity" as a CD-Rom feature, directed by surrealist splatterfreak Michael Todd Schneider, AKA Michael MagGot of August Underground infamy. Comes in digipack packaging.