Hermann Kopp

[Cyril Tourneur]

Ritualistic sounds environment filled with sinister darkness and overwhelming sickness...This is musick for Sick people! don't try this if you are weak!
(Hell Attacks)
Here are a few genuinely disturbing gore-scores, courtesy of German director Jörg Buttgereit’s vilified low-dough shockers Nekromantik, Nekromantik 2 and Der Todesking (The Death King). Composer Hermann Kopp’s unwelcoming instrumentation wrings black bile from a cheerless cadence of violins, dingy Moog synthesizers and occasional gothic choir. Featuring a lung-soaked last gasp (Man Drowning Himself In bathtub) and a handful of raw cannibalist lullabies to rock you gently to death, Nekronology is perhaps best summed up by opening cut The Loving Dead, a single torturous minute of diseased hysterical violins (think Wendy Carlos’ creepy Shining score) which might be the sonic equivalent of having every inch of your skin stripped to the bone with a potato peeler. Simply put, Kopp’s Nekronology will even make the hairs on top of the little hairs on your neck stand up.
(Rue Morgue)
Scratching violins, sinister moog synthesizers, an occasional male background choir, monotone chords on one electric guitar string, weird and undefinable noises and very sparse industrial-like beats that would fit on a Cold Meat Industry record. Fourteen pieces of inconvenient atmospheres that breath dungeons, fading candles, dripping blood, creepy creatures and the smell of death. It's not really music in the conservative composing-way, nor is it strictly atmospheric and non-descriptive sound scapes. It's somewhere in-between and if you're open for it, it could stimulate your fantasy how gruesome the accompanied images are. It's almost you can see the throats cut in slow motion, the sliced limbs and the hideous activities that will suit the first two movie titles.
(Lord Of Metal)
Super freaky instrumental squeals that ends with what can only be the sounds of a dead limb being hacked off, haunting almost atonal string quartet. like a slowed down, warped Balanescu Quartet, haunting Tom Waits-ish creepy clatter, with whining violin being transmitted through a crappy little transistor radio, with clanking slow motion rhythms, creepy underwater sound scapes of burbling and swooshing space sound effects, industrial buzz, with a distant mournful melody, all scratchy played over the top and even occasional full on synth heavy Goblin horrorscapes. Definitely cool stuff!




« Under a Demon's Mask » like a trip to the essence
of beauty itself
Vampiric violins as passwords to the anguished sense
of time passing
Out-of-time sounds, like a medieval unearthly ritual
with half-mute patients
sharing their insanity with Tuxedomoon bass lines
and waltzes for transvestite serial killers,

« Under a Demon's Mask » like a tribute to imagination
gone mad
Haunting as a nightmare, excessive as night,
Goya in a nightgown kissing Bosch goodbye,
A silk sacrifice in velvet blood
Sweet as the kiss of a snake bite
Cold as a reflection in bleeding eyes

« Under a Demon's Mask » like the light that brings us to tears
Fleshless lust and senseless desires
Dead birds singing lullabyes with prosthetic ghosts
in curtains of flesh
Like the loneliness of the trauma,
Like the glass that falls to the ground
Leaving its wounds wide open

Under the mask is the emotion
the only real truth.

(Maxime Lachaud)



Hermann Kopp

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