what an about turn from Umberto, yeah there are a couple of his usual synth bangers on here but also there is a ton of melodic , reflective super mellow tracks on here too. Female vocals slide in and out of the mix sounding like early 4AD records and the whole affair is shot through with a melancholy vibe that somehow reminds us of Blood On Satans Claw or any other UK folk horror film.
Seriously we can’t tell you enough how fucking great this record is.
THE LABEL SAY
The original story behind Matt Hill’s perplexingly stark and melancholic new full length is suitably cryptic: “I had a vision of a man experiencing a series of alienating situations.” Whatever the impetus, Alienation stands as the most fascinatingly atypical Umberto album to date: downcast, subdued, haunted, ethereal. In the wake of several extensive international tours and a string of high-profile collaborations with Antoni Maiovvi for the Death Waltz imprint – including a harrowing live score of The Texas Chainsaw Massacre – Hill began expanding his palette, exploring divergences from his classic giallo-paranoia mode. The record’s nine tracks flow between winter garden ambience (“Elimination,” “Lost Night”), lofty insomniac reverie (“White Night,” “Passage”), and shivering dirge (“Black Sea”), only two of which echo the pulsing synthesizer night-stalks he’s best known for (“Drifters,” “Dawn Of Mirrors”).
Hill also commissioned vocalists Victoria Gokun and Edward Tonoyan to weight certain songs with heavier emotion, using lyrics inspired by condemned Russian poet Anna Akhmatova. The combined effect feels out of time, intertwining currents of memory, delusion, and beauty, an unplaceable soundtrack for untraceable sorrow. Recorded and mixed by Matt Hill in Los Angeles, 2015. Mastered by Alex Nagle in Philadelphia, 2016. Expressionist cover painting by Geoffrey Sexton. Metallic gold-foil layout designed by Tim Goodwillie.
4. Black Sea
5. White Night
6. Dawn Of Mirrors
8. Lost Night