Spermicidal and Weary of Empires reviewed at Metal Ireland
http://www.metalireland.com/2013/06/11/demos-all-around-me-3/ Weary Of Empires’s second release, the mysteriously titled ‘Through Three Sided Glass’, takes the Noise elements of the indefatigable Cathal Rodgers’s repertoir and dresses it up in blacker robes than the more minimal abstract likes of his Wereju material or the scratches, blips and feedback of his Null/Void work.
Simple, hypnotic Industrial beats propel the dingy, clotted morass of riffage along while distorted, alien vocals fade in and out of focus, only serving to add further confusion.
Trying to penetrate this din is a task. Picking out riffs is futile. The beats are the only elements that could be considered in any way accessible; the only landmarks on an otherwise damaged, decayed map. Atmospherically it is haunted, floating and shadowy and hangs in some awkward region between chilled out relaxation and creepy disorientation.
The purpose here seems to be to alienate the listener as much as possible. The few lyrics that there are are intriguing and speak of isolation, detachment and personal growth.
The only traditional aspect of the release is the simple, striking artwork, which has a classic Scandinavian BM feel to it. Then again, when viewed with the lyrics in mind it begins to take on a life of its own and hints at something ‘other’.
Rodgers is up again, this time under the Spermicidal banner. The ‘Vermicide’ demo sort of carries on from where Weary of Empires leaves off and in many ways is pretty similar.
However, repeated spins display a distinct change of tone. Where WOE is all dense and impenetrable, Spermicidal is more open and light sounding. Don’t get me wrong, this is deranged and completely fucked-up music but its sound as if the musical, or noise, mesh has been stretched out to allow shafts of light to pour through.
The vocals are, once again, drowned in effects rendering them indecipherable and the drums on opener, ‘Verminate’, are a chaotic, restless swirl which refuses to settle, making it difficult to find an access point.
On ‘Inferiority’ the pace calms but the layers of heaped riffs and noise morph like a growing organism, shape-shifting and spilling over and across whatever pulse is being vainly laid down. The effect is like picturing stone walls being built on rolling waves. It’s mildly nauseating.
The weirdness continues across the second side of the tape with Rodgers proving to be something of a musical sadist. Tempos shift and rearrange while the drones carry on their own irregular dialogue, seemingly oblivious to the tectonic movements occurring beneath.
Reference points are tricky but maybe consider the leeching edges of later Blut Aus Nord or even Xasthur at their queasy best. But I’m not sure if this is really BM at all, other than in spirit. For those interested in exploring the furthest blurry edges of BM, Industrial and Noise, this is well worth a listen.