The mix is perfectly balanced with the vocals forcing their way through a barrage of thunderous drums, scathing guitar riffs and subtle orchestral embellishments to stamp their claim on the gothic-doom genre. Motus Tenebrae have thrown everything they have into 'Deathrising' and it shows. This is an album that shows a band that are more than ready for a big international push to put them where they deserve to be. Posted in: deathrising , motus tenebrae , music. Newer Post Older Post Home. Double CD edition with all the band's recordings, singles, b-sides, and rarities.
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An epic reissue for an epic masterpiece. If you order from here your email will be added to their mailing list, but that's what you always wanted, right? Later, unequivocally POV shot flashbacks show him stabbing her to death in revenge. More killings and letters ensue in the present, confirming Giermani's prediction. Lesbian journalist and Neal acquaintance Tilde is murdered at her home, along with her lover Marion. Maria, the daughter of Neal's landlord, is axed to death after stumbling into the killer's lair.
TV book reviewer Christiano Berti shows an intense fixation on Neal's work, as well as bigoted prudishness much like that of the killer's letters. Following this hunch, and the fact that Maria's body was found in Berti's district , Neal and his assistant Gianni spy on Berti, who is burning pictures and files identifying him as the killer. Gianni sees Berti telling someone "I killed them all! He finds Neal knocked unconscious on the lawn and they flee the scene. Neal has sex with Anne that night, a first in their six-year acquaintance.
Giermani calls Neal to the Berti crime scene after finding dossiers proving Berti's obsession with him but is unaware of the burnt evidence. He thus believes the killer is still at large and is comforted by Neal's intention to leave Rome.
Jane receives a gift of red shoes like those prevalent in the seaside flashbacks. Bullmer is stabbed to death in a public square while waiting for Jane, who witnesses the aftermath and flees. Neal's plane leaves for Paris that evening. Meanwhile, Gianni is haunted by the significance of what he saw in Berti's house. He returns there and realizes that Berti's self-incriminating last words imply two murderers. Before Gianni can share this detail with anyone, he is garrotted to death in his car.
A distraught Jane calls Anne to her place and waits in her kitchen holding a pistol. An axe shatters the window and hacks off her forearm. Blood sprays over the walls and Jane falls to the floor, where several blows finish her off. Inspector Altieri enters and is also killed, at which point Neal is revealed to be the murderer. Giermani and Anne arrive soon afterwards. Held at gunpoint by Giermani, Neal tacitly confesses to killing Berti and everyone after him, then slits his throat.
Giermani reports the incident from the car radio and comforts Anne. A final explanation takes form. The teenage murder flashbacks were Neal's. Berti's sadistic murder spree had unlocked a repressed memory in Neal, namely his murder of the girl who had humiliated him as a youth in Rhode Island. The memory inflamed Neal's previously suppressed bloodlust, driving him insane. It also fueled his plan to eliminate Jane and Bullmer, whose affair he knew of, by maintaining a semblance that the original killer had murdered Berti and was still active.
Whether Berti destroyed his murder files at Neal's secret behest, or spontaneously, is left to speculation. Giermani returns inside and is murdered by Neal, who had faked his own death.
Neal waits for Anne to return; when she opens the door, she accidentally knocks over a metal sculpture that impales and kills Neal.
The horror-stricken Anne stands in the rain and screams repeatedly. According to the film historian and critic Bill Warren , Tenebrae is a typical example of the giallo film genre: "visually extremely stylish, with imaginative, sometimes stunning cinematography", it presents "mysterious, gruesome murders, often in picturesque locations; at the end, the identity of the murderer is disclosed in a scene destined to terrify and surprise.
By the time Argento made Tenebrae , he had become the acknowledged master of the genre, to the point where he felt confident enough to be openly self-referential to his own past, referencing the "reckless driving humor" from The Cat o' Nine Tails and the hero from The Bird with the Crystal Plumage. Warren and Alan Jones cite a scene where a character is killed in a public square as evoking the work of Alfred Hitchcock ;   Rostock agrees that the editing of the sequence is in a Hitchcockian vein, while the lighting is more influenced by Michelangelo Antonioni.
She refers to the strong narrative in the film as an example of "the most paranoid excesses of film noir. Kim Newman and Alan Jones suggest that the mysteries of Arthur Conan Doyle , Rex Stout , and Agatha Christie were all obvious influences on Tenebrae , and there are many references to these authors throughout the film. Another reference is the dog attack: as something of a non sequitur , the scene is thought by Newman to be a likely nod to Conan Doyle's The Hound of the Baskervilles — Critics have identified various major themes in Tenebrae.
In interviews conducted during the film's production, the usually somewhat reticent Argento offered his candid views on the thematic content of the film. Traditional cause and effect are seemingly forgotten or actively ignored". In almost all his scenes his appearance is followed or accompanied by a shot of water. According to Argento expert Thomas Rostock, Tenebrae is filled with rhyming imagery that relates to the film's exploration of "the dual nature of [the] two active murderers" using doubles, inversions, reflections and "re-reflections".
Every major character has at least one double, and the theme extends to objects, locations, actions, and events — major and minor. The first half belongs to the murders of Berti; the second to those of Neal. The two are set up as mirrors of one another. Berti's killings with a razor are clinical, with "lingering sexualized aggressiveness", whereas Neal's with an axe are crimes of passion committed for personal reasons or out of necessity; they are swift and to the point.
Kevin Lyon observes, "The plot revolves around the audacious and quite unexpected transference of guilt from the maniacal killer about whom we learn very little, itself unusual for Argento to the eminently likeable hero, surely the film's boldest stroke. She suggests that "Neal and Berti When the bloody Neal is confronted by Giermani immediately after having killed numerous people, Neal screams at him, "It was like a book The moment in which the first half of the movie transitions into the second is punctuated by the rising score and camera pan to an ostensibly meaningless point of reflected light on an ornament.
According to Rostock, the meaning behind this movement is clear: it marks the spot when Berti's spree ends and Neal's rampage begins. Neal, previously passive, begins to control what happens in his own story, which is more personal with "weight and meaning".
According to Rostock, this structure allows Argento equal scope to play with the narrative while commenting upon it, all without having to deviate from the advancement of the plot. According to Gracey, many have compared Argento with the character of Peter Neal, speculating that he serves as an alter-ego for the director.
With Tenebrae in particular, he felt he was making a joke or playing a game with his critics, creating a front or mystique about himself. With Tenebrae ' s reveal that the author is the killer, Newman argues that Argento is saying, "What if I were?
As in many of Argento's films, which tend to eroticize the murder of beautiful women,  gender, sexuality, and power are major issues foregrounded by the film.
Berti murders the comparatively normal Maria only because she inadvertently discovers his twisted compulsion. Neal's own motivations for becoming a killer are revealed in "Freudian flashbacks". As summarized by McDonagh, these flashbacks "expose how the misogyny evident in his books actually stems from being sexually humiliated by a beautiful woman in his youth. McDonagh noted that two sexually charged flashbacks are key to understanding Tenebrae. These distinct but strongly related memory fragments are introduced repeatedly throughout the film, usually immediately following a murder sequence.
Although the flashbacks are never fully explained, the first one reveals a beautiful young woman's sexual humiliation though oral rape of a teenage boy, presumed to be Peter Neal. The young woman is mostly topless during this first sequence, and she humiliates the young man by jamming the heel of one of her shiny red shoes into his mouth while he is held down by a group of gleeful boys on a pale-white beach.
The second flashback shows the vicious revenge-murder of the woman some time later. McDonagh notes that all of the fetishistic imagery of these flashbacks, combined with the sadistic details of the murder sequences in the main narrative, "set the parameters of Tenebrae ' s fetishistic and fetishicized visual vocabulary, couched in terms both ritualistic and orgiastically out of control Peter Neal indulges in sins of the flesh and Tenebrae revels in them, inviting the spectator to join in; in fact, it dares the viewer not to do so.
The protagonists in Argento's giallo films almost always suffer from vision impairment of some kind. The puzzle being the solution of a murder or series of murders that generally provides much of the films' narrative thrust. Most obviously is the blind Franco Arno Karl Malden in The Cat o' Nine Tails , who must use his heightened aural sense in combination with visual clues supplied to him by his niece to solve a mystery.
In The Bird with the Crystal Plumage , Sam Dalmas Tony Musante witnesses a murder attempt but admits to the police that something seems to be "missing"; as the film's surprise ending makes clear, he did not "miss" anything, but simply misinterpreted what happened in front of his eyes.
In Deep Red , Marcus David Hemmings has a similar problem in both seeing and not seeing the murderer at the scene of the crime, and does not realize his mistake until it is almost too late. This recurring theme, according to Douglas E. Winter , creates "a world of danger and deception, where seeing is not believing". Flanagan observes that in Tenebrae , Argento offers two characters who suffer from impaired vision. Gianni Christian Borromeo is an eyewitness to an axe-murder, but the trauma of seeing the killing causes him to disregard a vital clue.
Returning to the scene of the crime, he suddenly remembers everything and is murdered before being able to tell anyone. Homicide detective Giermani reveals that he is a big fan of the novels of Agatha Christie , Mickey Spillane , Rex Stout , and Ed McBain , but admits that he has never been able to guess the identity of the killer in any of the books. He is similarly unable to solve the real mystery until the last corpses are piled at his feet — he cannot see Peter Neal for what he really is.
In an interview that appeared in Cinefantastique , Argento noted that the film was intended as near- science fiction , taking place "about five or more years in the future Tenebrae occurs in a world inhabited by fewer people with the result that the remainder are wealthier and less crowded.
Something has happened to make it that way but no one remembers, or wants to remember It isn't exactly my Blade Runner , of course, but nevertheless a step into the world of tomorrow. If you watch the film with this perspective in mind, it will become very apparent. While rejecting this thematic concern as unrealized by Argento, McDonagh noted that the result of the director's experiment is a strange "architectural landscape" that becomes the "key element in differentiating Tenebrae from Argento's earlier gialli.
Seizing on the director's additional comment, " I dreamed an imaginary city in which the most amazing things happen", she notes that the film's "fictive space couldn't be less 'real'", with its "vast unpopulated boulevards, piazzas that look like nothing more than suburban American malls, hard-edged Bauhaus apartment buildings, anonymous clubs, and parking garages.
Rostock believes that Argento used this location as an attempt to realize his theme of an imaginary city; the district gives a glimpse of a future Rome that never was, showing the city how it might have looked had fascism not fallen. After completing Inferno , the second in his planned Three Mothers trilogy of supernatural horror films, Argento was expected to move straight into production of its concluding chapter. The first in the trilogy, Suspiria , had turned the director into what Alan Jones called "a horror superstar", but Inferno had proven a difficult follow-up.
Argento had become unwell while writing the film, and his ill health continued into filming. In addition, Argento's relationship with Inferno ' s co-producer 20th Century Fox had soured the director on "Hollywood politics", so when Inferno was not well-received upon release, Argento put the Three Mothers trilogy on hold.
Argento said that Tenebrae was directly influenced by two distressing incidents that occurred in However, after a few weeks, the fan found Argento and resumed his calls, issuing more threats.
The director decided to return to Italy. The second incident occurred during Argento's stay at The Beverly Hilton , where a Japanese tourist was shot dead in the hotel lobby.
Later hearing of a drive-by shooting outside a local cinema, Argento reflected on the senselessness of the killings: "To kill for nothing, that is the true horror of today Argento reportedly offered the lead role of Peter Neal to Christopher Walken , but eventually, it went to Anthony Franciosa.
He also believed that if Walken had been cast, it would have been more obvious that he was the killer. Nicolodi therefore only agreed to a brief appearance in Tenebrae. Transgender actress Eva Robin's was later hired to play the woman on the beach. When the American actress who had been hired to play Anne dropped out just before the start of principal photography, Argento convinced Nicolodi to take on this larger role.
She said the role required little energy or imagination, but liked the novelty of playing neither killer nor victim.
Motus Tenebrae discography () Motus Tenebrae discography (all) Double Black () Deathrising Motus Tenebrae. Type: Full-length Release date: January 25th, Catalog ID: echo Label: My Kingdom Music Format: CD Reviews: None yet Songs; Lineup; Reviews; Additional notes; 1. Our Weakness