I honestly can’t tell how and when I discovered this album. But recently I stumbled upon a Spotify playlist I made with it, and I have listened rather much to it since.
The opening slap and crying child, is a instant attention-getter, and the following 39 minutes is catchy rocky bliss.
I rather quickly decided to obtain this album, and luckily at has just been rereleased, so it was a nobrainer getting it.
I really dig the cover, and I have a very soft spot for extensive liner notes.
I have stolen the images for this blog post from the discogs entry, as I’m writing this away from my own copy of the record.
Ever since new years eve, I have played a game by myself, for myself and with myself. The rules are sketchy but goes a bit like this:
Every day in 2016, I have to decide what band, genre or theme my main listening will consist of that day.
Since it’s my own game, I get to bend the rules as I see fit. For what it’s worth here follows my list of Listening Dogma in January:
0102 Butthole Surfers
0103 UKHC 1985-1989
0104 Noisecore and Noisegrind
0105 Records with Lee Dorrian on vocal duty
0106 Venom and Bathory
0107 Bolt Thrower
0108 Vastum, Coffins and Immortal
0109 Records associated with Jake and Mason of Reeking Cross (Enemy Soil, Jesus Of Nazareth, Exploding Meth Lab, Triac, Shit On Command)
0111 Music released by Relapse Records – this changed to David Bowie when I learned of his death (R.I.P.).
0112 Stereo Total
0113 Destruction, Sodom & Kreator
0115 Slough, Gore Beyond Necropsy and Last Days Of Humanity
0116 sunn o)))
0117 Garage rock
0118 Swedish metal
0119 80’s remix and 12″
0120 Fear Of God, Messiah, Triptychon and Celtic Frost
0121 Agoraphobic Nosebleed artist radio on Spotify
0122 Relapse Records Grindcore mix on Spotify
0123 Black Sabbath
0124 Warsore, Insect Warfare and Wormrot
0125 All things Danny Lilker
0126 Records released in 2006
0127 Remix EP’s
0128 Moon Duo artist radio on Spotify
0129 Fast Japanese music
0131 Extreme Noise Terror, Lärm & Heresy
Listening continues in February. Feel free to send med suggestions to what to listen to.
Oh me, oh my… It’s that time of the year again.
Here is the list of the albums I’ve listened to the most in 2015 (according to last.fm).
Please note this is not only albums released in 2015.
1: Regurgitate: Effortless Regurgitation… The Torture Sessions
2: Napalm Death: Apex Predator – Easy Meat
3: Last Days Of Humanity: Putrefaction In Progress
4: The Magnetic Fields: 69 Love Songs
5: Melt-Banana: Return of 13 Hedgehogs (MxBx Singles 2000-2009)
6: Amon Amarth: Twilight Of The Thunder Gods
7: Moon Duo: Shadow Of The Sun
8: Godflesh: A World Lit Only By Fire
9: Tribulation: The Children Of The Night
10: Lightning Bolt: Fantasy Empire
11: Myrkur: M
12: Terrorizer: World Downfall
13: Toxic Holocaust: An Overdose Of Death
14: Behemoth: The Satanist
15: Nails: Abandon All Life
16: Celtic Frost: Morbid Tales
17: The Cure: Staring At The Sea: The Singles 1979-1985
18: Destruction: Infernal Overkill
19: GirlsNames/Kusari Gama Kill: Drum Tactics
20: Denak: Grindcore
21: Wormrot: Dirge
22: Anaal Nathrakh: Hell Is Empty, and All the Devils Are Here
23: Noisear: Subvert the Dominant Paradigm
24: Clogged: Clogged
25: Jenny Hval: Apocalypse, Girl
26: Cretin: Stranger
27: Pivixki: Gravissima
28: Repulsion: Horrified
29: The Kill: Kill Them… All
30: Bathory: The Return Of Darkness And Evil
Glædelig jul, alle mine smådjævle!
A Divine Proclamtion Of Finishing The Present Existence!!!
This record stands alongside Napalm Death’s Scum and a few others, as a life changing experience for me. Just as I thought I had heard it all, this epileptic seizure came along and pushed my concept of what is possible sonically, to a higher level. I will give the word to the user Noktorn on rateyourmusic.com, as he has summed up all the qualities of this lp far better than I ever could:
“And here… we… go.
If there was anything accessible about previous Last Days Of Humanity releases, it’s been violently stripped away here. This didn’t necessarily ‘invent’ gorenoise; the primordial workings of that style stretch back to the mid-’90s. But this and the new projects of Last Days Of Humanity members after that band’s dissolution absolutely canonized the basic elements of the style: insane speed, insane distortion, and almost nothing replicating actual ‘music’ as we know it. This is Last Days Of Humanity’s masterpiece, and it makes sense that the band broke up after its release; I mean, what the fuck would top this?
When examining this album, you can’t really critique it as you would anything in the typical extreme metal or goregrind field; that’s all piteously mainstream and gentle compared to this beast. What you’re in for is the most violent and extreme material of earlier Last Days Of Humanity taken to a wholly new level. The vocals don’t just roar, they scream from the very gut of Erwin De Groot, and they’d be horrible enough alone, but the band feels the need to process it through every level of pitch-shifting and distortion known to man, putting them out the other side of the mike as something almost unrecognizable as coming from a human throat.
Guitars? Are there guitars here, or just fifty distorted basses all playing something completely different? There’s no memorable riffs here; the distortion is so massive all you hear is a wash of insane, ultra-fast, occasionally undulating noise in the background to the point where the very idea of doing a cover of one of these songs is laughable. The riffs are so fast and probably so technical that they’re not even a melodic instrument anymore. You forget that guitars are supposed to play notes and chords and that sort of thing on this album. And the drums? Well, the drumming performance on this album might be the most extreme I’ve ever heard provided entirely by a human; it sounds completely untriggered and perhaps the most consistently fast and brutal performance I’ve ever heard not supplied by a machine. To say this album is one long blast beat punctuated by fills and the occasional pausing snare hit would be entirely accurate; the very fact that the drummer doesn’t pass out halfway through ‘A Divine Proclamation Of Finishing The Present Existence’ is a testament to human endurance.
You don’t listen to this album as much as you undergo it; the songs are almost randomly structured, with long strings of tremolo riffs and blasting suddenly stopping, two solitary snare hits echoing out of the speakers before the band dives back into the madness, not even giving the listener a chance to collect his or her (but really, his) thoughts before erupting into another insane blast of noise. Despite how crazy and seemingly improvised this music is, you can tell it’s very carefully structured: everything seems to be perfectly on time, the sudden rhythms stops and starts are very precise, with single chiming ride cymbal strikes and suddenly muted chords coming out just too perfectly to be on the fly. Because of this, it might be one of goregrind’s most complex releases; hell, I can barely call it goregrind or gorenoise since this sort of thing really seems more the purview of John Zorn than anyone in a Gut t-shirt.
This is of course barely music; I mean, occasionally a track will come around like ‘The Beauty Of Perfection In Sensible Cruelty’ which seems to hearken back to ‘The Sound Of Rancid Juices Sloshing Around Your Coffin’, but I don’t think that will comfort those bearing all the other tracks, which are nothing more than maelstroms of complete blood-drenched chaos. That being said, there’s clearly a method to the madness; you almost wonder WHY this music is so careful and precise given its nature- I mean, would anyone notice the difference? Perhaps not, but therein lies the genius: the complete nerve and single-mindedness and terrifying certainty it takes to make ‘music’ like this is a representation of what extreme music SHOULD be: wholly uncompromising, entirely insane, and very far beyond anything we’d call ‘human’.”
They have released the above mentioned three records so far, and they are all of very high standard. As you can see the records have very similar layout, and the records’ sides are continuously numbered 1-6 as you can see on the photo below.
I’ll stand back, and let the music speak for itself…