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Over the past couple of years Milwaukee, Wisconsin’s Emblazoned have proven themselves to be one of the more resilient and reliable underground death/black metal combos. This shouldn’t really surprise anybody because “Eucharistiae Sacramentum” and “The Living Magisterium” spoke for themselves. Emblazoned very much believes in efficiency and doesn’t put a lot of faith in, well, faith and other people in general. “Catharsis” is just that. It’s a cathartic release of the blackest misanthropic hatred that is one part Malevolent Creation, one part early Deicide – and all awesome. As always it’s finely produced at Belle City Sound – and “Catharsis” is no different in that regard. If only all death/black metal was like this.

At the pumping black heart of Emblazoned is multi-instrumentalist Kevin Forsythe, a versatile performer who was in an earlier incarnation of indefatigable Kenosha killers Jungle Rot, and who by this point has worked out what little kinks there were in his songwriting formula on earlier outings. A.J. Lewandowski, who has sessioned with California’s Decrepit Birth, is in no small part responsible for Emblazoned sounding as lively as it does. His playing easily matches that of German band Obscura or the more underground Italian formation Resumed. As a bass guitarist his popping funky licks are integral to the band’s sound. Frontman Jeff Plewa and drummer Alex Pulvermacher are both more than serviceable in their respective areas, but remain fairly typical for the genre all the same. Moreso than in the past is Lewandowski’s bass playing on here instrumental to Emblazoned as a band.

Emblazoned was never much of a band to concern itself with niceties and ornamental bells and whistles. “Catharsis” pushes that aspect even further. The sole objective of “Catharsis” is delivering finely honed, perfectly streamlined American death metal with a hint of Polish technicality. It’s direct, to-the-point, and does exactly what it promises. Even when they play slower, which they do far more often now than in the not-so-distant past, Emblazoned remains as rugged and solid as they always have been. Forsythe understands better than most that less is always more. Forsythe produces records the way he writes: compact, functional – but never overproduced and/or bloated. Emblazoned’s complete lack of pretense should by all accounts be prevalent in the underground, but for some reason has become something of a rarity. In a music genre that has long since lost the last vestiges of individualism Emblazoned is a beacon of hope. Hope that somebody, somewhere still gets it. How the scales have tipped in just a short few years…

At 44 minutes “Catharsis” is the longest record Emblazoned has yet written but thanks to the brevity of Forsythe’s writing it feels a good 10 minutes shorter. In any case the current length is ideal for the kind of music that Emblazoned plays. It’s lean, mean, and absolutely pulls no punches whatsoever. It’s the kind of record that you’d wish Morbid Angel would still be able to conjure up (but never does), a direction that Vital Remains and Krisiun are no longer interested in pursuing, and that in the old days Pessimist could be relied upon to deliver with some semi-regularity. “Catharsis” perfectly fills that void. It has the meanest crunch, retains a sense of groove, and occasionally flirts with the technical – but never to the point of excess. It’s the kind of record that will never go down in the annals of genre history as essential or mandatory, but it has none such aspirations.

“Catharsis” embodies what pre-millennial death metal used to be all about. It wastes no time with a superfluous, redundant intro piece that amounts to nothing, it contains no orchestrations, or grand concept – it's just honest, blue-collar death metal composed and performed by guys who clearly love what they do. “Catharsis” cements Emblazoned’s status as one of the most underappreciated acts currently working the scene. Where else are you like to hear a band that combines best traits of Malevolent Creation, early Deicide and Vader into a finely honed, streamlined whole that is as groovy as it is technical? Emblazoned formed in 1999, and it shows. In every positive sense. Forsythe and his men have consistently proven to be able to match themselves with any of the genre’s old guard. It’s a pity that popular opinion will never appreciate bands like this as much they probably should.

Plot: bored socialites screw themselves, and others, over on opulent yacht

The abolition of the Hays Code in 1968 finally allowed American filmmakers to capitalize on the Sexual Revolution that was taking place in various places around the world. No longer restricted by its stifling regulations and free of its rigorous censoring directors could finally push the envelope in a more liberated fashion. In parallel movement erotic cinema surged in Canada thanks to Danielle Ouimet and her fellow stars of Maplesyrup porn (which is something of a misnomer as many productions of the cycle were soft erotic movies by and large) and the commedia sexy all'italiana turning up the heat in view of the more looser societal norms.

Leading the charge in terms of sexual liberation and gratuitous display of skin was Top Sensation (released in North America as The Seducers through Jerry Gross' Cinemation Industries), a thriller mostly remembered for being the only thriller, or early giallo, to pair together Rosalba Neri and Edwige Fenech, two of Italy's most desirable exploitation starlets. In a number of ways Top Sensation laid the groundwork for Nico Mastorakis’ deeply cynical Hellenic proto-slasher Island Of Death (1976). Dismissed on release as an exercise in pulp and tedium Top Sensation has since garnered the reputation of something of a cult favorite. Its formula proved strong enough that it even spawned one or two imitations of it own. Not bad for a movie about a bunch of unlikeable, bored rich people.

Ottavio Alessi had been second unit directing in various capacity since 1940, so it seems only logical that he would eventually ascent to the director’s chair to helm his own features. His only directing credit prior to Top Sensation was the Totò comedy What Ever Happened to Baby Totò? (1964). Handling second unit direction for the production was Rosalba Neri, who had over a decade of experience in front of the camera by that point. Based upon his earlier writing, and the decadence that would give Top Sensation its repute, Alessi was hired to co-write the screenplay for The Snake God (1970) with Nadia Cassini and to later provide the story for the Joe D’Amato directed Black Emanuelle installments Emanuelle Nera: Orient Reportage (1976), and Emanuelle in America (1977).

Top Sensation takes the central premise of Roman Polanski’s Knife in the Water (1962), one part of Michelangelo Antonioni’s L’Avventura (1960), and spices it up with a healthy dose of Mediterreanean eroticism. Directed by screenwriter Ottavio Alessi Top Sensation works despite its minuscule budget and solitary location. In fact Top Sensation spawned imitations of its own with Giuliano Biagetti’s Interrabang (1969), with Haydée Politoff, and Ruggero Deodato’s Waves Of Lust (1975) with Deodato’s wife-to-be Silvia Dionisio in what looked like a constant state of undress. Not that Top Sensation is in any way lacking in terms of bare skin and nudity on display. Capitalizing on the nascent pin-up culture Top Sensation puts its two leading ladies in the skimpiest of bikinis, and more often than not, out of them.

Central to the plot of Top Sensation is middle-aged oil heiress Mudy (Maud Belleroche, as Maud De Belleroche), a jetset socialite, who has taken her mentally challenged, socially stunted son Tony (Ruggero Miti) on a boating trip on her yacht. Tony lives isolated in his bunk and enjoys nothing more than playing with his toy cars, and starting the occassional fire. Invited along for the trip are the stunning Paola (Rosalba Neri) and Aldo (Maurizio Bonuglia), a young couple whose frolicking she hopes will spark the flame of sexual desire in Tony. Also on the yacht is Ulla (Edwige Fenech), a high-class escort, to ensure that Tony's first sexual experience is worth treasuring. To its credit the screenplay keeps how Mudy came into her fortune - whether she amassed it herself, or plainly married into it - rather vague. Circling around Mudy like vultures are Paola and Aldo, an upper-class gold-digging young couple, who take turns seducing the seemingly always cranky Mudy. Ulla partakes in the scheme but for entirely different reasons than Paola and Aldo. When the boat experiences technical problems near an island, and Tony takes a liking to naive, world-strange goat herder Beba (Eva Thulin, as Ewa Thulin) things go haywire when her husband Andro (Salvatore Puntillo) gets wind of the situation…

Rosalba Neri and Edwige Fenech spent most of their screentime in the skimpiest of bikinis, and about as much time out of them. Both women are highly sexual, and completely sexualized. In its defense at least Top Sensation makes no qualms or excuses about the fact. Early on Paola and Ulla notice Andro spying on them from the foliage. “God, I wish he'd move into the open more,” Ulla muses, “he ought to be hard by now” Paola notes in a near-porn exchange. The two girls lure him out by taking their tops off and oiling each other on the deck with sunscreen. When the boat first experiences trouble, Tony disappears and is seen on the nearest island. Aldo and Ulla volunteer to search the shore and return the young boy. At one point Ulla, wearing nothing more than a captain’s hat and a white shirt, runs into a wandering goat nearby Beba’s farm, something which greatly excites her. Aroused by the farm animal she spills out her left breast - which the goat happily indulges in suckling with reckless abandon - as the goat makes its way down she allows herself to be orally pleasured by the animal. Aldo, enthused at the shore-bound vista, wastes no time in documenting the salacious happening with a photocamera he brought along for the trip. Later on the boat Paola and Ulla ravage Beba by feeding her alcohol, and the two are only stopped when Mudy barges in on the lower deck.

The stars of Top Sensation are Rosalba Neri, at the height of desirability at 31, and Edwige Fenech, a freshfaced 21 year old model-turned-actress from France. Neri was regular in peplum, spaghetti western, Eurospy adventures and comedies throughout most of the sixties. Rosalba had also partaken in several Jess Franco productions by that point, back when doing so wasn't considered a surefire way to either sabotage, or end, one's career in the cinematic arts. Top Sensation marked Neri's trajectory towards more risqué productions. Not only did she direct second unit but also ensured that she looks amazing for the entirety of the production. In the seventies Neri would figure into, among others, The Beast Kills In Cold Blood (1971), Lady Frankenstein (1971), The French Sex Murders (1972) (an all-star giallo with Anita Ekberg, Barbara Bouchet and Evelyne Kraft), and The Devil's Wedding Night (1973). Even though Neri was anywhere and everywhere in the 1970s she never truly established herself as a leading lady, much in the same way as her contemporaries Paola Tedesco and Rita Calderoni. In short, Top Sensation is sensational and quintessential viewing for Rosalba Neri completists/fanatics.

In more ways than one Top Sensation was a career-defining performance from the nubile Edwige Fenech. Fenech owned much, if not all, of her acting career to director Sergio Martino. After Edwige's appearance in Mario Bava’s 5 Dolls For An August Moon (1970) Martino directed her in The Strange Vice Of Mrs. Wardh (1971) and All Colors Of the Dark (1972). The only thing of note that Fenech had done prior to Top Sensation was the amiable adventure Samao, Queen Of the Jungle (1968) along with that other famous comedic star of the 1970s, Femi Benussi. Thanks to her work in giallo with Sergio Martino, Fenech would establish herself as the royalty of domestic exploitation. In the following decade Edwige would make her return to the commedia sexy all'italiana where she originally found her footing. Like her co-star Rosalba Neri, Edwige Fenech doesn't shy from the near-constant or partial nudity that her role requires. She seems to be having a blast.

Top Sensation was the only acting credit for Maud Belleroche and the screen debut for Eva Thulin whose career lasted a brief two years and encompasses a total of four movies. Maud de Belleroche is a Baroness from the exclusive 17th arrondissement of Paris, France who gained some repute and infamy as a writer, journalist and sympathizer to the Collaboration. As a student she was the mistress of Jean Luchaire and eventually followed her second husband Georges Guilbaud in exile to Germany, Italy, Spain and Argentina. De Belleroche was a decorated sportswoman (French junior ice skating champion, French record-holder scuba-diving) and gifted orator for Amis de Versailles, Amis des Châteaux de la Loire, Alliance Française, Connaissance du monde. She published various book under the alias Sacquard de Belleroche and won the Prix ​​Broquette-Gonin of literature of the French Academy in 1963 for Five Characters in search of Emperor. Her memoire The Ordinatrice from 1968 was so popular that it warranted a follow-up a few years down the line. Ruggero Miti - whose acting career lasted from 1966 to 1972, and whose only other credit of note is La Rivoluzione Sessuale (1968) with commedia sexy all-italiana queen Laura Antonelli - has the look of a 1970s Milo Ventimiglia or rather a fairly standard 1970s Italian pretty boy.

There's plenty of the naked female form to be had in Top Sensation, but it is custodian to quite some rich subtext beyond the superficiality of the premise. First and foremost, Top Sensation is about corruption: the corruption of wealth, the corruption of innocence and its brazen transgressive sexual politics qualify it as a giallo. Every character, Beba excepted, is thoroughly reprehensible. Paola and Aldo are two bored upper-class yuppies, with Paola being a bisexual nymphomaniac to boot. Ulla is a first-class opportunist who will jump at every chance if it involves personal enrichment. Mudy is high-strung, bossy, and abusive to anyone in her vicinity, not only Tony. At one point she encourages Beba, battered once more by her inebriated peasant of a husband, to cast off the shackles of the subservient, submissive housewife role she has assumed. However, none of it is genuine, as Mudy only does so as a way of extorting money from Andro via Beba. In other words, every single person, with exception of Beba, on the boat is thoroughly corrupted by greed, jealousy, and emotionally manipulative in the worst of ways.

Bored with their wealth and bored with their lives the socialites on the yacht will stop at nothing to screw over someone, anyone, everyone if it helps in their personal enrichment. Paola and Aldo are hired by Mudy to get Tony interested in the fairer sex, but that doesn't stop the two from trying to seduce Mudy at various points. Paola only shows interest in Beba once it's clear that Tony cares for her. In the ultimate act of corruption Paola and Ulla feed Beba alcohol which leads into a memorable girl-on-girl three-way that makes Paola's sapphic liaison with Mudy pale in comparison. By proxy Ulla is the least morally bankrupt of the socialites as she's merely there on a contractual basis, although that doesn't make her any less culpable in what ultimately transpires. Top Sensation is transgressive and risqué at various points but it never quite develops into something that really pushes the envelope. It's the old warhorse: the decadent ruling class feeding on the proletariat.

Concluded by a quote from Ecclesiastes in hopes of redeeming itself Top Sensation manages to do a lot with very little. With only a single location at its disposal the premise hinges on how well the dialog is able to sell the characters. Terrible English dubbing notwithstanding every actor gives his or her all to the characters. Rosalba Neri and Edwige Fenech are a delight as a duo of nymphomaniac sex kittens that struggle to keep their clothes on, Maurizio Bonuglia revels in playing a sleazebag, whereas Eva Thulin shines as the innocent shepherd girl. Salvatore Puntillo enjoys the role of the somewhat dimwitted peasant, but in return is allowed to rub closely to both Neri and Fenech. Ruggero Miti is at his best in the scenes with Thulin, but his character is not nearly inculpable in the events that unfold. For a production as impoverished Top Sensation is a scathing indictment of the upper-class and reveals some surprising subtextual depth next to its rampant and near-constant showcasing of its generously formed and seldom clothed female lead duo.