Black metal and noise have been suitable bed partners since the inception of black metal. Noise had evolved much sooner, appearing on grindcore albums amongst other genres. Black metal of the minimalist variety was like some form of aesthetic noise, with tremolo riffs that sounded similar to dense swarms of locusts preying on indigenous farmlands.
Noise is generic to metal in general. Loud, but appealing for some deeper pathological reason than aesthetic acoustic instrumentation does, noise fused with metal is often unsettling and dark, but even alternative rock featured heavy feedback noise in the grunge days.
However, the inhuman roars and blistering guitar noise Tome of the Unreplenished features on its album, Cosmoprism: The Theurgy, Act I, is so otherwordly that it deserves notice. The black metal segments are minimal, manifesting in the occasional rung notes and high-speed riffery, even with the absence of syncopated beats of any kind, the noises are akin to labyrinthe psychosis.
This is certainly sounding like obscure soundtrack horror, worse than any sort Terra Tenebrosa has dreamed up in a worthy bout of Nine Inch Nails idealization. To say it is worse only describes just how disjointed and monstrous the music sounds like here – it is raw, primeval, and degenerative. It is society’s decline into the underworld of irrationalism.
It is fitting tribute to obscure noisemakers the world over, never quite beautiful enough to attract mainstream audiences, dark and cathartic enough for extreme metal lovers to occasionally find attractive for a deluge of nightmares during a bout of insomnia. Hard to make out just what they’re throwing into the melting pot here. There’s plenty of destruction, plenty of incursive pathological provocation, plenty of music for the reflection of a world on the brink of chaos.
Like Theologian but quite unlike Einstruzende Neubaten, Tome of the Unreplenished doesn’t use industrial beats and polyrhythmic dance patterns. They instead use plenty of guitar and synth samples, creating a soundtrack experience similar to new age composer Max Richter’s music, only much more dense and layered, elaborate in the objective of creating music fitting for dementia.
The songs are long enough, never too long, and are balanced in formulation to stand out from each other and allow some identity for each. Like a sun extinguished of light, darkness slowly glossing over the world a second at a time, this music makes fitting soundtrack to a horrible ending, a horrible painful and hopeless demise of today’s misanthropic civilization. It is insane art, and fittingly, art for the insane, art for those jaded with music, art for the man who holds a gun filled with bullets against his temple, ready for the one inhuman noise that will drive him to his wit’s end.
2. Dead Body of God
4. Black Hole Resident