The loony, lurid supernatural sleaze saga continues! Could this series get any more provocative and taboo-busting after the outrageous beastporn / tentacle assault / occult ultraviolence of the first film? Oh, you bet!

Like the first film's score on Tiger Lab, this is presented in a slick gatefold jacket featuring still artwork from the series, a mega-hentai odyssey that helped to kick start the boundless perversion of 1990s-era anime. Masamichi's hands are all over the sci-fi / mecha / action terrain of the past few decades, with 1986's SF Roman Animation Nayuta Ongakushuu, 2000's Battle Royale, 2001's Giant Robo I, and the 2003 television series Stratos 4 all under his belt. Nothing comes close to the insanity and depravity of his work on the Overfiend series, though. The film is absurdly outrageous. Using one of the most diabolical sex-magick machines ever portrayed in cinema of any kind, the utterly mad Nazi scientist Dr Munhi Hausen and his son proceeds to summon a demon called Kohoki, in an effort to take total control over the worlds of human, man-beast and demon. A cast of characters old and new find themselves entangled in this new parade of abominations and atrocities, with the Munhi Hausen clan's ultimate goal being the destruction of the Choujin, the titular "Overfiend".

Legend Of The Demon Womb is bigger, crazier, sleazier than its predecessor, and that goes for the soundtrack as well. Thirty-one tracks of proto-synthwave across two LPs, and it's fuckin' bonkers from start to finish. Thematically, it's like the filmmakers looked at the first film / OAVs and spitballed whatever they could come up with that would out-shock the audience: more brutal sexual violence, more tentacle penetration, but also massive amounts of Nazi occultism (via references to the Vril Society) , and gargantuan grotesque sex-machines driven by some kind of nightmarish orgone energy. Yeah, this is pinnacle transgressive Japanese animation. Ultra-horror. Ultra-repulsion. Definitely not for the faint-hearted.

Amano's score puts you through the wringer, too: of course you get Amano's perverse use of Japanese "city pop", 80s lounge sounds, and outrageously schmaltzy orchestral arrangements to drench everything in sugary romantic sweetness on pieces like "A Strike From Fate", "Flying Date", "Campus Theme II". That aspect of the score is wild, with glistening electronic strings and heart-wrenchingly bittersweet piano , New Agey flutes, funky lighthearted pop melodies and jazzy piano/synth duets, dangling these perfectly normal, human feelings of young love, unrequited crushes, sweet nostalgia, youthful wonder, and joyous innocence in your face before it drops you into the sweat-soaked, cum-blasted ultra-violent erotic hellscape of Urotsukidoji.

The action pieces like "Battle Atop The Roofs Of Shinjuku", "Experiment in 1944 - Vril Society HQ", "Megumi's Scream" and "Battle In The Yokohama Sky" are bigger, badder, and bolder here, moving beyond the video-game soundtrack vibe of the first score with denser, more layered orchestral voices, huge choral pads, a wealth of instrumental brass timbres and a constant use of pulse-quickening percussion sequencing; those militaristic snares are back, as are the booming battle-drums and sinister horns that highlight the film's intense combat scenes, lending them an operatic majesty. But fans of the 16-bit electronics also get a decent amount of that here too, with several of those "battle" sequences blasting off into wild video-game-style action. Amano's predilection for avant-garde classical sounds and weird proggy synthesizer arrangements is back as well, with "Black Magic In 1948" and "Completion Of The Ritual" unfurling strange and dissonant soundscapes that occasionally sound like a Penderecki piece that has been repurposed for a Sega Genesis game, eerie chorales floating over offbeat rhythmic forms and jagged strings. And there are some brief moments of unexpectedly wonky xylophone that have a demented, frightening Carl Stalling-like vibe.

The oddball ethno-ambient of "Peeping Room" blends Japanese and Middle Eastern musical motifs together into a super-sleazy delirium; there's lots of pulsating Tangerine Dreamy stuff; fans of 80s-era progressive synth music will have a ball with this, with all of Amano's dizzying keyboard shredding and lunatic jazz-rock fusion synths, along with the few instances of primo horror-synth like "Mysteries of the Future" and "Skyscraper Ceremony". Indeed, the sleek, lilting sonic drift of many of these tunes actually recall the vintage Japanese New Age music of artists like Kitaro and Inoyama Land at times. In spite of the over-the-top transgressive splooge-fest on screen, the music is more sophisticated this time around, which just makes it even weirder when you hear all of this in tandem with viewing the film. A crazy, cult score to one of the most extreme, notorious, and downright nasty anime films ever.