(written by GC) With this work, three tripartite composition of long duration ( 20, 12 and 8 minutes), Maurice de Jong of the Dutch music definitely goes in the territories inhuman.
Doom, industrial, noise are the forms used to organize real horror symphonies absolutely closed to hope. The title track
seems like a hallucination Ligeti in the final sequence of 2001: A Space Odyssey , but as mentioned, not a coupe de Jong self-awareness, rebirths and palingenesis. Whispers emanating from the interstellar void, rumors overwhelming, metallic threats: the man pressed something irreducible residue of life to force her to surrender, as in a blind god Lovecraft and gurgling in a senseless uproar of flutes, the fate of the universe .
Then Shall They Come, O Master ... is a Black Mass in honor of these deities. The new Crowley emphasizes percussion crescendo stun, wild invocations, irresistible clatter to subside only in the final moments.
In Sullen silence pestilence stalks forth, a circular saw and a rumbling apocalyptic backdrop to vociferations infernal then channeled into a cacophony ending that leaves exhausted and stunned.
A tour de force unheard which, together with previous work of the Dutchman, by title and ornamental artworks almost unbearable, as a musical experience that is very soundtrack of the last days of humanity; absurd for a definition, or difficult, it seems condensed into a few lines of Montale Clivo that read: "In the evening just lying, is heard / a wail of horns, a decay .
Gnaw Their Tongues - Rend like wild beasts Each Other (2009)
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