- Post-industrial
- Avant-metal
- Black metal
- Death
industrial
- Noisecore
- Abstract
- Power electronics
- Grindcore
Comment: this collaborative act between two
cult one-man-projects (of a very prolific extent by Maurice de Jong,
and Jay Gambit, respectively) obviously seem to base on the storm and
stress effect. Intense greyish and blackened noises, painful drones
juxtaposed to merciless screeches and indecipherable chaotic nuts
imbued with an endless pool of desperation do externalise an
overwhelming issue being very far away from the borders of mainstream
music. I can not fancy it otherwise but a perverse dream to ruin the
mood of contemporary half-fledged soul(less), rap and poptronica
stars. On the other side, some black metal artists are emblematic of
having ridiculous credibility (let's pass without names at the time).
This cannot be attributed to the current issue of making up a
trajectory from deadly industrial drones and disorienting black noise
to be loaded with high voltage to more contoured, even noble-minded
black metal boasts to trudge to the area of hardcore, grind and
noisecore mixed noodling. A kind of sway from earthly matters to
heavenly matters. Could you imagine the sound of your domestic
refrigerator is magnified up to 50 or even 100 times by showcasing
(mostly unpleasant) sounds you haven't heard before? It seems to the
listener it is the case at times. Last but not least I am being
impressed by the visual aesthetic of the aforementioned harsh styles.
The one is not an exception by providing warning ideas of impending
doom. It is an example of ominous religious music at its very core by my
humble opinion. It is a case as embarrasing as watching for hours the mostly religious works of painters from the Middle Ages and Early Modern Europe (the experience I have had at Museo del Prado in the capital of Spain). In a word, let's take more responsibility and act
reasonably as much as it is temporally given to all of us. That may
be an ethical point of the issue. Fairly pro.
