APOPTHELEMA #18 PART TWO

APOPTHELEMA ENTRY 18 PART TWO

by Kyle Nonneman

[Note: this was composed in prison where proof-reading facilities are notoriously bad. Please don't hold that against the author. You can contact Kyle through the address listed at the end of this entry.]

SUTCLIFFE JUGEND - WITH EXTREME PREJUDICE

This is what Fad Gadget would have sounded like if Frank Tovey was a sadistic pedophile and huffed alot of gas...

Sutcliffe Jugend back in the early 1980s were part of the first wave of true British power electronics/proto industrial. Throbbing Gristle became acid casualties and after there breakup became responsible for the early rave scene and Genesis P. Orridge didn't do anything else significantly extreme or challenging until his collaboration with Merzbow a few years back. Which was some of the finest work by both G.p.o & Merzbow. 

S.J. took the depravity and seething misanthropy of Throbbing Gristle and S.P.K and cultivated it further into a seething assaultive exegesis upon the ugliness of humanity. This full length has a lot of psychotic and depraved vocals delivered over piercing and disturbing industrial noise that is in most tracks looped in a hypnotic fashion that cause the harrowing vocals to drill into your skull. A lot of this record is more somber and moderately rhythmic as well as repetitive than the more abrasive work they accomplished on their definitive genre defining full length 'When Pornography Is No Longer Enough." While some of the vocals are unfortunately less in your face than Pornography and Pigdaddy. This is still a significant work by one of the most sociopathic acts within extreme underground music. This is true industrial. Not the disgraceful dance music it became.... This is what hipster poser acts like Prurient, Wolf Eyes and Bastard Noise water down for trendy herdcore audiences....

The majority of Sutcliffe Jugend's work takes the listener vastly further into the psyche of a sociopathic serial killer than most acts out there within extreme metal can ever hope to accomplish and they have been doing this before death metal existed... 

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REVOCATION - THE OUTER ONES 

One of the few interesting and memorable progressive death jazz fusion albums. This isn't true old school death metal but it still kills it.

A challenging combination of Post Human Death, Hellwitch and mid period Atheist influences fused with alot of Coltrane,Wayne Shorter and Pat Metheny worship resulting in a brutal death acid jazz fusion sound that is well above the skill level of most tech death acts.

Revocation's work is more influenced by the work of jazz fusion guitarists than it is a mere extension of the same fashionable shred gods everyone tries to replicate. Their compositions are carefully cultivated and distilled statements not routine aimless free form shredding of no substance. All the songs on this full length are inspired explorations of the themes and philosophy of H.P. Lovecraft's work with an epic degree of structure. As a whole this is an interesting and epic album by very talented musicians. There's a lot of unique and distinctive guitar work on this record thats worth listening to. I hate the trendy technical death jerk-off acts. This act doesn't fit into that loathsome category and they slay most of the overrated soul less tech death out there. 

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MITOCHONDRION - PARASIGNOSIS

This is true death. One of the definitive works of extreme underground music period. That follows proudly in the exalted wake of Mitochondrion's previous full length Archaeaeon. Mitochondrion is an unsettling and powerfully disturbing act that transgressivley destroys the tired and cliché confines of formulaic extreme metal. They invoke the roots and traditions of true death metal and evolve it forward into new dimensions of aural depravity without the use of keyboards,sampling, and overtly technical detours into non metal genres. This is a formless mutating misanthropic sound sculpture invoking the primal depths of cosmic chaos more than it is a cohesive collection of riffs. More esoteric occult rituals than structured songs. This full length drags the listener further into the depths of hell than its predecessor Archaeaeon did. 

This is one of the best releases to come out of the new dark age of extreme metal. Hail the NDAOEM! 

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You can contact Kyle at:

 Kyle Nonneman

 #16534211

Osci

3405 Deerpark Dr SE

Salem OR 97310

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I'm Mykel Board, and I post for Kyle because no one else will. If you're interested in my own ideas, you can read me at: mykelsblog.blogspot.com

Apopthelema Entry 7 Part 6 by Kyle Nonneman

Apopthelema Entry 7 Part 5 by Kyle Nonneman


[Note: this was composed in prison where proof-reading facilities are notoriously bad. Please don't hold that against the author. You can contact Kyle through the address listed at the end of this entry. I (Mykel Board) am posting this to give a voice to the otherwise voiceless. The opinions here belong solely to Kyle]

MERZBOW/KEIJI HAINO/BALAZS PANDI

-AN UNTROUBLESOME DEFENSELESSNESS

This one of the best Merzbow collabs since his work with Boris.

Merzbow has remained for decades an abrasive fuck you to ignorant cattle that justify their lack of creativity & laziness by saying its all been done before/no ones original/everyones copying someone. fuck off. listen to this and then go fucking kill yourself.

I'm an uncompromisingly militant fucking elitist when it comes to certain shit. I have no patience let alone interest in pedestrian shit that panders to the status quo. In a depraved echo of the Lovecraftian occult researchers quest for forbiden esoteric grimoires to summon fourth the ancient ones to destroy the earth, I've always been driven towards the obscure fringes of aesthetic expression.

This collaboration combines Merzbow's experimental analog synth noisescapes with experimental guitar work. Dragging the conventional standards of improv free jazz into a hellish landscape of discordant madness almost on the level of the acid freakouts of Les Rallizes Denudes. This is uncompromisingly extreme work that makes John Zorn and Anthony Braxton sound like fucking Kenny G in comparison.Making freeform improv jazz psychedelia a threat again.

At this point, Jazz has become the go to genre of choice for neophyte faux intellectuals, freshly born again as dilettantes from decades of listening to pedestrian pop music. Still reaching for something so accessible it's just about as bubblegum. Because Jazz and Blues isn't a threat, it's not challenging. It's status quo and assimilated into popular culture. So now whenever you see a former sheep trying to crawl out of his cage and sever his mass media feeder tube, they crawl towards major label jazz . Jazz decades ago used to be innovative and original, now it's as exciting as elevator music and a convenient way for people to pose and pretend to have sophisticated knowledge of fringe music.

Don't you just fucking hate those simple minded centroclines who claim they appreciate all forms of music and listen to everything with an open mind. The fucking brutal truth of the matter is they say that largely because they're unable to form an opinion about anything let alone express themselves independently outside of what's deemed acceptable by the herd. Second of all, the wankers that say that shit aren't obsessive completists whose sanity can justifiably called into question.... I'm obviously on the spectrum. so what.

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NOOTHGRUSH-FALLING EARLY,FALLING OFTEN,

When you melt Early Swans records on top of Flipper and Saint Vitus lps and play it at half speed, you get Noothgrush. I just manged to obtain this album. Noothgrush is to Grief what Return Of the Living Dead is to Dawn Of the Dead. Both bands work also shambles fourth like a stumbling reanimated corpse. I had a copy of this about 12 years ago i got it right before Slap a Ham went out of business.

Pure bleak suffocating low end domination from this cult crawling horde . Noothgrush came out of the Slap A Ham fringes of the hardcore/power violence underground with slow as fuck hypnotic riffs&push-pull rhythms. Downtuned stomach churning low end guitars with all the high end notched out and saturated with distortion. The only thing cutting through the bass is the drums,the crazed pained vocalist and the feedback that bleeds through to the surface like an open wound. The lyrics deal with stuff like misanthropy, animal rights, primitivism and Star Wars,.There are a few well- chosen and placed samples throughout this record that make you think-- very thought provoking brief intermissions from the sludge. Like a drowning victim poking his head above water and briefly seeing the light..

This also includes a neat cover of the Imperial March from Star Wars. This is discordant disharmonic violent sludge, not the melodic doom of the Cathedral school.

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You can contact Kyle at:

Kyle Nonneman
#16534211
SRCI
777 Stanton Blvd
Ontario OR 97914-8335