APOTHELEMA SPECIAL FEATURE ON PLANET OF THE APES (HAIL CAESAR!)

Friday, July 12, 2019

APOPTHELEMA SPECIAL FEATURE ON PLANET OF THE APES. 

[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.]

"BEWARE THE BEAST MAN FOR HE IS THE DEVIL'S PAWN.ALONE AMONG GODS PRIMATES HE KILLS FOR SPORT OR LUST OR GREED. YA! HE WILL MURDER HIS BROTHER TO POSSESS HIS BROTHERS LAND LET HIM NOT BREED IN GREAT NUMBERS FOR HE WILL MAKE A DESSERT OF HIS HOME AND YOURS .SHUN HIM. DRIVE HIM BACK INTO HIS JUNGLE LAIR. FOR HE HIS THE HARBINGER OF DEATH" --PLANET OF THE APES

I saw Dawn Of The Planet Of The Apes in theatres when it first premiered. The sequel to it, Rise Of the Planet Of the Apes depicted a few examples of false flag terrorism and the seeds of the concept that all species are inherently flawed.

War For The Planet Of The Apes ends on a significant high note. Providing the viewer with the origins of Nova. Who we see as a devolved child in this film helping the apes escape the woods to the dessert. As well as the beginnings of the dooms day nuclear holocaust cult introduced in Beneath The Planet Of The Apes.

War also has a tongue-in-cheek reference to Donald Trump. The military uses the ape as slave labor to build a wall for their dictator who has gone insane with the collapse of civilization and being faced with the impending doom of his race. The dictator's suicide at the end is beautiful poetic justice.

Like the other classics in this series, it's about shattering the anthropomorphic bias that fuels the delusional belief systems of the herd. Allowing them to ignorantly believe through systems of denial that they are the crown of creation. A dystopian end to a weed species providing the fertilizer for a new species to rise up in its place of extinction, reminding us of how transitory we are in the end.

War For the Planet Of The Apes follows the continuity of the original series to some degree, providing a more clarified, cohesive and easier to grasp explanation for the fall of humanity then the original series. As well as filling in gaps in the original series: Such as why humanity devolved into mute cave men and how they ended up in the dessert.

But the time line for the film is somewhat screwed up. War For The Planet Of The Apes ends with Nova as a 7 year old girl. She's around 30 with the arrival of the astronaut Taylor. So it ends 23 to 25 years before the events in the first film and the original novel.

Maurice is the only orangutan in the film. It neglects to explain how the orangutans became political leaders and keepers of the scrolls or how they bred. It would have be nice to see the origins of Dr. Zaius like we do the origins of Cornelius.

The original series had a paradox time loop aspect to it that isn't carried over in the remakes.

After the planet is destroy in the second film with the detonation of the bomb Cornelius and his wife escape earth and go back in time.

In the third film. Leaving Caesar to be raised and start the rebellion in Conquest of The Planet Of The Apes. In the remake, Cornelius is Caesar's son. So he essentially gives birth to his own father...

The followup to Conquest , Battle of the Planet Of The Apes, is the "Cold Lake" of the series.

Battle was a saccharine maudlin cashgrab franchise film as well as a humanist apology for the powerfully misanthropic climax to Conquest that inspired me a lot as a kid as well as inspiring a few bands.

Conquest was sampled to great effect by Noothgrush and Suppression. Noothgrush has an awesome song that pays tribute to the message behind Planet Of The Apes called 29th Scroll. Readers should seek it out.

One issue i had though with War For the Planet Of The Apes is the end credits stated "Based On Characters Originally Created By" and they cite the original scriptwriters-- not the French Science Fiction novelist Pierre Boulle who wrote the book the original film was based on.

Its interesting to note further that Boulle was likely inspired by the urban legend during the French British war:

A French ship washed ashore and on board the ship was a pet chimp dressed in a captains uniform. The British assumed the ape was a French spy and the ape chattering was the french language. So they took him as a prisoner of war and shortly thereafter hung the ape. Monkey hangers became an antiquarian derogatory term for the British as a result.

"MAN WAS BORN OF THE APE AND THERE'S STILL AN APE CURLED UP INSIDE OF EVERY MAN. THE BEAST THAT MUST BE WHIPPED INTO SUBMISSION, CHAINED AND SHACKLED. WHEN WE HATE YOU, WE'RE HATING THE DARK SIDES OF OUR SELVES"

-CONQUEST OF THE PLANET OF THE APES

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You can contact Kyle at:

 Kyle Nonneman

 #16534211

Osci

3405 Deerpark Dr SE

Salem OR 97310

And here's some more art from Kyle:

You can also see a profile and have e-contact at:

http://www.writeaprisoner.com/Template.aspx?i=z-16534211

And a new contact: https://prisoninmates.com/profile/KyleNonneman16534211

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 9 Part 9 by Kyle Nonneman

Apopthelema Entry 9 Part 9 by Kyle Nonneman

NOTE: PARTS 2-4 ARE MISSING FROM THE MESSAGES

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.]

GRIEF-TURBULENT TIMES

Grief & Noothgrush set the fucking benchmark on sludge doom. 

The difference between Noothgrush & Grief is like the difference between Return of the Living Dead and Fulci's Zombi. 

Grief has some of the slow wall of noise dissonance you hear on the ugliest of Swans early 82-86 period live recordings combined with ugly abyssic deviant doom that makes Ramesses sound like Candlemass in comparison. The misanthropic lyrics on Grief records deal with fucked up mental states, uselessness, suicidal despair and self loathing. Approaching drone metal levels of sustain, the screaming and crushing riffs bursting like abscesses into piercing feedback. This is one step away from being a HNW built from guitars,bass,drums,violent psychotic vocals and the wreckage left behind by a destroyed mind.

I love the drum tone on this record. It cuts through the guitars like a rusty axe to your skull... Throughout the monochromatic abusive monotony of this full length you can still hear the haunted spirit of Black Sabbath rising through the void like a shot of Narcan and Green Vegetable Matter has a killer solo that totally shreds like Iommi. 

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COFFINS/NOOTHGRUSH SPLIT

This is a split between Japan's masters of sewer sludgegore death doom and the Almighty Noothgrush! So you should already know this is some potent high grade doom.This ain't no fucking Elder/Orange Goblin jam with safe seventies stoner rock vibes to give you some remission from the violence. Coffins Wretched Path is one of my Favorites, like an Autopsy'd Electric Wizard getting high on some Pungent Stench.

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NOOTHGRUSH-LIVE FOR NOTHING

This is my favorite Noothgrush record. Noothgrush's Live For Nothing, contains a harsh as fuck cover of Procreation of the Wicked, with an evil dank basement in hell production. Enslaved and a lot of other bands have covered that song but Noothgrush owns it. 

Like Dissection owned it on their cover of Slayer's Antichrist and Kreator's brutal cover of Number of the Beast. Invoking a new dark age incarnation of the crushing primitive bludgeoning that made Morbid Tales more brutal and influential to the development of extreme metal than most of the other glossier more technical speed metal/thrash acts in 80s. The riffs on Morbid Tales were more cult and iconic than anything on Killing Technology & Time Does not Heal. (As far as evil technical thrash with a lot of time changes goes, its hard to fuck with Hellwitch's Syzgial Miscreancy. ) 

Noothgrush puts out straight up suffocating low end dominating blunt force trauma grinding crawling sludge ,with some neanderthal power violence elements like the Man is The Bastard slow jams turned up to eleven. Like listening to Sabbath & Swans at the same time on a bad acid trip.

Noothgrush dosn't give a fuck what the crowd thought like Saint Vitus, Kilslug and Flipper did in the 80s. I was at a Disclose show in Portland around 2002-2003, i remember some crusty talking about a Noothgrush show, "I was just waiting for em to slam, I thought it was an intro and it just went on and on and it was fucking painful".... Fuck all the negative connotations scene politics gives to California and the stoner/sludge strain of doom. Noothgrush kills all those lesser mortals! 

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NECROS CHRISTOS-DOOM OF THE OCCULT

Bathory's Destroyer of Worlds had Kali/Shiva related lyrics likely sourced from and in reference to the infamous quote from the atomic bomb scientist...This album has an epic ritual doom invocation to Shiva & Kali. 

There's a lot of deeply demonic and occult darkness to those two deities that is underappreciated. So the themes of that piece stand out in terms of lyrical themes.

It starts out with thrash whammy bar torture & pinch harmonics before settling into a semi-melodic death doom groove . With the melodic elements sourced more from Seasons of The Abyss than Vincebus Eruptum. 

It has a hollow empty epic occult atmosphere to it that changes up throughout the piece with more discernible riffs and progressions then your average death doom band. To me this sounds like a less innovative Disembowelment with the grindcore & Goblin elements substituted for more traditional thrash & Florida death metal influences. With more of a DS-1 than an HM-2 production.Necros Christos ability to retain the traditional thrash/death elements of the old school and carve them into epic 9 minute long rituals, while remaining interesting and challenging distinguishes this band from the hordes of generic uninspired acts out there lacking an original sound.

I like the fact that you don't know what to expect next from this album. It doesn't settle into a genre restricted routine. Nor does it become a tedious exercise in quirky genre mashing.This isn't a new album. I review it here because it deserves to be promoted and spread like a virus. More people need to do stuff like this, rooted in atavistic tradition while carrying it on further!

 You can contact Kyle at:

 Kyle Nonneman

#16534211

SRCI

777 Stanton Blvd

Ontario OR 97914-8335

You can also see a profile and have e-contact at:

http://www.writeaprisoner.com/Template.aspx?i=z-16534211

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

--end part 9-

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.

APOTHELEMA.BLOGSPOT.COM

 More later:
You can contact Kyle at:

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