One of the most intricate plots in recent movie memory (which I won’t even try to recount here), and like any good film noir, it’s thick with atmosphere.
Difference Engine’s flowers are not as stately as roses, and they certainly have no thorns to add an interesting dichotomy of beauty and masochism to the mix.
Take Death In June and extract all the Nazi crap, add genuine romance to the songs, along with a female singer who can carry that mood, and you get Duality.
Organs, scary keyboards, and fist-banging rhythms offset the hyperspeed paces – but in the end, it seems so random. And “inconsistent” production doesn’t help.
Mostly breakneck-speed black metal, with dabbles of supporting keyboards. When the tempo “slows,” the riffing approaches memorable, almost singable, beauty.
The hard-to-find material he recorded from ’83 to ’85, most of it in an appealing light-pop vein that suits his thin voice and none-too-overreaching lyrics.