Coïtus Int

At first glance, I recognizedCoïtus Int. as a kind of ordinary, copy and paste postpunk band with nothing new or special to offer. But after further, more focused listens, I discovered that there was a greater level of artistic integrity in effect here than first realized. Like Joy Division, the base of Coitus Int.’s music is sparsely structured - featuring bass as the lead melodic instrument, jagged guitar and baritone vocals. But, it is the band’s special attention to song ornamentation that saves them from being written off as yet another JD clone, instead morphing the unit into something that approaches a stripped down, dirge-obsessed version of Bauhaus, sans the glam antics and glossy finish.

Released in 1982, Coïtus Int.’sself-titled LP is dark, depressive postpunk perfection. It’s soooo good in fact that the more I listen to it the more I want to hear it! From the low, opening rumble of the hardcore in slow-motion “Birds” to the dreary spaced-out feedback of closing track “Tourist Ghetto”, there’s just so much to savor. It’s one of those albums that’s best explored alone and without interruption as the music and voice carry the listener through the emotions of alienation and self-preservation. The vocalist takes a deep bellowing approach to his lyrics, which are never sung, but instead lazily uttered in slur - a style that matches the instrumentation well and helps to maintain the raw, depressive atmosphere. The song structures are solid and varied, with lots of playful guitar leads that bounce in and out, often building up to a nice, climatic end. ThinkSouthern Death Cult, Joy Division, Bauhaus and you’re on the right track. The band even managed to put together an instrumental dance track… one that actually doesn’t sound like it’s missing its lyrics! And I really can’t emphasize that enough because I usually need lyrics, or at least a chorus, to keep my interest. But not here, no ma’m… I just want to dance! So do yourself a favor and check this album out… I promise you won’t be disappointed.

1982 - Self-titled