It’s an epic track, and the crowning achievement of a quality and worthwhile collaboration. It ends with doom, which I find somehow fitting. We then get harsh noise and grim screams, before the music once more explodes with venom and destructive malice. This then morphs into a slower, doomier, and quite atmospheric proposition, with a strong feeling of electronic grandeur, before returning to fiery blackened fury. Punishing and brutal, there’s an industrial metal quality to this that reminds me of old Strapping Young Lad and Ministry in places. This opens as a blackened doom monolith, before abruptly changing tack to a punk-charged black metal assault that’s both vicious and quite traditional compared to the rest of the material on this album. The final track on this harrowing album is the 15-minute monster that is The Divinity of Our Great Perversions. Off-kilter industrialised beats form a backdrop behind a layer of thick, spiky noise, while a daemonic entity screams out in pain and desire. Sounding like something malevolent is trying to claw into our world from beyond the void, the song is a crawling, malignant piece of work. The Blinding Fury of Suffering is the shortest song here. Closing with an industrial beat that would make Godflesh proud, this is a strong track all-round. ![]() This is a blackened noise track that wilfully rips and tears, where Nothing’s Sacred reluctantly scraped and scratched. With an undercurrent of humming evil and maintained tension, the track unfolds with a scraping quality, as if it doesn’t want to be heard at all.Īfter that we get the blistering evil of Speared Martyrs it starts with a gentle percussion that suddenly explodes into raw, ugly black metal. Nothing’s Sacred is the opening offensive, and is nine minutes of harsh noise and electronics. Shaken and stirred until ready to burn through the world, this is a nightmare soundscape of experimental mayhem, the likes of which works holistically much better than my above description might imply from all of its disparate parts. It’s a striking and arresting piece.Ĭontaining four tracks with a total duration of 36 minutes, this is a punishing, lethal concoction of noise, electronics, experimental sounds, dark ambient, industrial, and the most virulent of black metal. Individually I really enjoy both of these artists, ( Genocidal Majesty, Crowhurst, II), so I was quite excited when I found out that they have worked together for this release.īefore we properly get going, I also want to briefly mention the stunning album artwork. Both specialise in experimental/black metal music, and they have collaborated for this release. The former is from the Netherlands and the latter is from the US. Not for everyone but an interesting project for those who feel a pull.Gnaw Their Tongues and Crowhurst are both one man projects. Its 264 pages are a testament to Vervaeke's commitment to his idea, ad infinitum. The book is both airily conceptual and rooted in our mortality, repetitive and full of countless beautiful details. As the faces fade further, anonymity returns and once again we become part of nature.Ad infinitum." The fading images reference mortality of human life, and the limitations of our impact. The clear images make us want to connect, understand, and know the strangers and their stories. When flipped through quickly, the images run together seamlessly.Īs Vervaeke writes, "The portrait series in the book exposes both the strength of the individual face and the perishable nature of the individual human body. The book underscores the latter by containing no names, no dates, no external referents. ![]() At the same time, we find repetition, anonymity and abstraction. On the one hand, we find endless individuality and variety - no two faces are ever the same and their individual patterns of decay are fascinating. After hundreds of pictures, two contradictory patterns emerge. Vervaeke's focus is on our relationship with human faces. Ad Infinitum is a selection of over 1,000 pictures which Kris Vervaeke took from the portraits found on tombstones in Hong Kong.
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