For our money the weirdest and most satisfying Regis record in a while, featuring stripped, slow, highly atmospheric & muscular productions that were recorded as part of that mad 'Let The Night Return’ feature film (Regis, performing more or less alone in a 2000-year-old, empty greek amphitheater) here rendered in brilliant monochrome including contributions from Justin Broadrick, Ann Margaret Hogan and the music school chorus of Corfu.

There’s something brutally bare and demented about this one, opening with the simmering choral drone ‘Epidaurus’ fizzing with whirring industrial components and rumbling subs, before 'Calling Down a Curse’ extends to terrifying dimensions with an intoxicating Ugandan Methods style percussive backbone and a slowed down voiceover by filmmaker Vasileios Trigkas, to our ears sounding like Burial as if rendered by Conny Plank as a kind of alternate version to his still entirely unclassifiable ‘Biomutanten’.

'The Blind Departing’ is a slow headmelter, all industrial synths and exposed percussion, every hi-hat and kickdrum separated and pristine, like the toughest, most angular sort of bare-boned warehouse chugger slowed to a crawl. If you shut your eyes you can almost imagine Alan Wilder and Martin Gore hitting sheets of metal with a mallet on that crazy old Depeche Mode footage that’s knocking about - played at half speed.

Perhaps best of all is the closing 'Temporary Thing’, featuring Regis, Anni Hogan, and Justin Broadrick taking on a cover version of the Lou Reed classic, here extended to HD.

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Downwards Records, 2021