Zombi's Steve Moore sets his eyes on the dancefloor once again on 'Eye of Horus', polishing his horror/sci-fi groove to a fine shine and folding weightless kosmische arpeggios into tense 4/4s and eerie B-movie basslines.
Moore's early L.I.E.S. 12"s contain some of his most vital club tracks, so it's refreshing to find him making a return to not only the label, but the tempo. Over the last few years, he's made the almost expected move to the big screen, scoring cult horror films like 'VFW' and 'Suitable Flesh', and here he breaks up the high drama with delicate Berlin-school sequences and thudding kicks. 'Point Dune' starts us off with a mood but not a beat, Moore waits until 'The Blue Stone' to unleash the beast, letting his winding synths play second fiddle to a hollow, punishing pulse. As expected, his melodic content is still the main draw, but this is the kinda moonlit dancefloor material that doesn't come along often enough - where else outside of euphoric trance are we gifted these kinda layered melodies?
Moore slows things down to a cosmic Italo bump on 'Valerie 23', ratcheting up the tension with pinprick hats and a squashes, sloshing snare, and on 'Elberon Place' he transports us into Lucio Fulci's gore-spotted mistscape, offsetting his woody drumsynth cycles with brassy stabs and ghostly wails. Fans of John Carpenter, Richard Band, Claudio Simonetti and Fabio Frizzi - this one's for you.
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Zombi's Steve Moore sets his eyes on the dancefloor once again on 'Eye of Horus', polishing his horror/sci-fi groove to a fine shine and folding weightless kosmische arpeggios into tense 4/4s and eerie B-movie basslines.
Moore's early L.I.E.S. 12"s contain some of his most vital club tracks, so it's refreshing to find him making a return to not only the label, but the tempo. Over the last few years, he's made the almost expected move to the big screen, scoring cult horror films like 'VFW' and 'Suitable Flesh', and here he breaks up the high drama with delicate Berlin-school sequences and thudding kicks. 'Point Dune' starts us off with a mood but not a beat, Moore waits until 'The Blue Stone' to unleash the beast, letting his winding synths play second fiddle to a hollow, punishing pulse. As expected, his melodic content is still the main draw, but this is the kinda moonlit dancefloor material that doesn't come along often enough - where else outside of euphoric trance are we gifted these kinda layered melodies?
Moore slows things down to a cosmic Italo bump on 'Valerie 23', ratcheting up the tension with pinprick hats and a squashes, sloshing snare, and on 'Elberon Place' he transports us into Lucio Fulci's gore-spotted mistscape, offsetting his woody drumsynth cycles with brassy stabs and ghostly wails. Fans of John Carpenter, Richard Band, Claudio Simonetti and Fabio Frizzi - this one's for you.
Zombi's Steve Moore sets his eyes on the dancefloor once again on 'Eye of Horus', polishing his horror/sci-fi groove to a fine shine and folding weightless kosmische arpeggios into tense 4/4s and eerie B-movie basslines.
Moore's early L.I.E.S. 12"s contain some of his most vital club tracks, so it's refreshing to find him making a return to not only the label, but the tempo. Over the last few years, he's made the almost expected move to the big screen, scoring cult horror films like 'VFW' and 'Suitable Flesh', and here he breaks up the high drama with delicate Berlin-school sequences and thudding kicks. 'Point Dune' starts us off with a mood but not a beat, Moore waits until 'The Blue Stone' to unleash the beast, letting his winding synths play second fiddle to a hollow, punishing pulse. As expected, his melodic content is still the main draw, but this is the kinda moonlit dancefloor material that doesn't come along often enough - where else outside of euphoric trance are we gifted these kinda layered melodies?
Moore slows things down to a cosmic Italo bump on 'Valerie 23', ratcheting up the tension with pinprick hats and a squashes, sloshing snare, and on 'Elberon Place' he transports us into Lucio Fulci's gore-spotted mistscape, offsetting his woody drumsynth cycles with brassy stabs and ghostly wails. Fans of John Carpenter, Richard Band, Claudio Simonetti and Fabio Frizzi - this one's for you.
Zombi's Steve Moore sets his eyes on the dancefloor once again on 'Eye of Horus', polishing his horror/sci-fi groove to a fine shine and folding weightless kosmische arpeggios into tense 4/4s and eerie B-movie basslines.
Moore's early L.I.E.S. 12"s contain some of his most vital club tracks, so it's refreshing to find him making a return to not only the label, but the tempo. Over the last few years, he's made the almost expected move to the big screen, scoring cult horror films like 'VFW' and 'Suitable Flesh', and here he breaks up the high drama with delicate Berlin-school sequences and thudding kicks. 'Point Dune' starts us off with a mood but not a beat, Moore waits until 'The Blue Stone' to unleash the beast, letting his winding synths play second fiddle to a hollow, punishing pulse. As expected, his melodic content is still the main draw, but this is the kinda moonlit dancefloor material that doesn't come along often enough - where else outside of euphoric trance are we gifted these kinda layered melodies?
Moore slows things down to a cosmic Italo bump on 'Valerie 23', ratcheting up the tension with pinprick hats and a squashes, sloshing snare, and on 'Elberon Place' he transports us into Lucio Fulci's gore-spotted mistscape, offsetting his woody drumsynth cycles with brassy stabs and ghostly wails. Fans of John Carpenter, Richard Band, Claudio Simonetti and Fabio Frizzi - this one's for you.
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Zombi's Steve Moore sets his eyes on the dancefloor once again on 'Eye of Horus', polishing his horror/sci-fi groove to a fine shine and folding weightless kosmische arpeggios into tense 4/4s and eerie B-movie basslines.
Moore's early L.I.E.S. 12"s contain some of his most vital club tracks, so it's refreshing to find him making a return to not only the label, but the tempo. Over the last few years, he's made the almost expected move to the big screen, scoring cult horror films like 'VFW' and 'Suitable Flesh', and here he breaks up the high drama with delicate Berlin-school sequences and thudding kicks. 'Point Dune' starts us off with a mood but not a beat, Moore waits until 'The Blue Stone' to unleash the beast, letting his winding synths play second fiddle to a hollow, punishing pulse. As expected, his melodic content is still the main draw, but this is the kinda moonlit dancefloor material that doesn't come along often enough - where else outside of euphoric trance are we gifted these kinda layered melodies?
Moore slows things down to a cosmic Italo bump on 'Valerie 23', ratcheting up the tension with pinprick hats and a squashes, sloshing snare, and on 'Elberon Place' he transports us into Lucio Fulci's gore-spotted mistscape, offsetting his woody drumsynth cycles with brassy stabs and ghostly wails. Fans of John Carpenter, Richard Band, Claudio Simonetti and Fabio Frizzi - this one's for you.