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Massimo and Pierce are best known (unjustly) as members of the late Coil’s live touring outfit during 2002. As the semi-naked, bloodied and washed-out Ghost Boys, their iconic and deeply physical on-stage presence is rooted in the world of Coil and their fans, and their increasingly individual and eclectic output has both suffered and profited from the connection. Listening to Musick for Porn Volume 2 (or indeed, Volume 1), however, reveals a much darker sexuality than their mentors' beaten path.
This release has dungeonesque, dark gothic sweeps just like the first volume, but appears to be a leaner, prettier beast. Volume 2 relies more heavily on ribcage rhythms than the dislodged electronic moods of its predecessor. The Neubauten beat of “Boot Boys” explores the idea of rhythmic panning, the whole track underpinned with a hooded drone as is shunts left to right. This song’s bondage bells give fetishist visualizations to the duo's already clear need and sexual thrust.
The almost flinch-causing slaps on “The Hole” take that one step further, wrapping the tempo in secluded moans and exhalations. The bubbling, electric thread that trickles throughout adds to the feeling that flesh and sex are merely feet away from the mic, and therefore, your speakers. The empty reverb conjures images of a church, or a cell, drawing obvious analogies between this couple’s personal relationship and physical love.
Most of the music here mines strata of shady murmuring drones and almost combative drums, hovering on the edge of frantic release. Like some form of pagan ceremonial music, these rebounding beats build into little looping, twisting prayers. “Another Ride” has a little oriental twangy insistent hook, while “The Bathtub” is infused with sweetly dropping diamond tears of water, yet under both lies a fleshy metal looping cartilage of unpleasant sound.
The conclusion of most ‘male orientated’ pornography is pretty obvious, but Massimo & Pierce end this journey slightly differently. “Final Coum/Another Mohawk” is an inverse aubade, welcoming in the mystery of the dark instead of the comfort of dawn with orgasmic moans and eerie 1980s synth hooks. It patters to an end in clipped beats with Pierce’s nursery rhyme vocals and Massimo’s deeper croon still echoing against the walls. By Scott McKeating
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View all articles by Scott McKeating