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ADERLATING  Spear Of Gold And Seraphim Bone Part Two  CD   (ConSOULing Sounds)   13.98
Spear Of Gold And Seraphim Bone Part Two IS CURRENTLY UNAVAILABLE FOR ORDER

��The duo of Maurice de Jong (Gnaw Their Tongues / Cloak Of Altering / Mors Sonat) and Eric Eijspaart (Mowlawner) are back with the second chapter in their Spear Of Gold And Seraphim Bone saga. As with the previous album, Aderlating unleash their particular brand of improv-heavy black industrial over the course of these eight tracks, and it's an almost totally oppressive listening experience. Gnaw their Tongues fans will no doubt appreciate the intense nightmarish quality of Aderlating's music, but what makes this stand out from the rest of Mories's projects is the formidable free-improv drumming that lurches and thunders throughout this album, bringing a twisted, almost free-jazz like kineticism to their sprawling, chaotic noisescapes.

��Opening with horrific squalls of ghostly anguish and rumbling industrial murk that tear through the beginning of "Per Luciferum Dominum Nostrum", Aderlating begins to unveil the album's eight descents into black delirium, the repetitive pounding of kettledrum-like rhythms thundering way down in the depths of their dirty, darkened mix, bleating horns and smears of surreal orchestral sound appearing over the noisy, abstract hellscape, veins of churning distorted noise pulsing with black energy as warped string sections come tumbling wildly out of the abyss - the first five minutes of Spear alone is the stuff of nightmares. As the album unfolds, swarms of insectile noise billow out in black clouds from sulfuric holes, and demented, agonized cries echo endlessly out of the depths. Tracks like "Worship Of Dead Gods" can resemble some of the more subdued Gnaw Their Tongues material, with smears of distant orchestral sound becoming blurred beneath monstrous tectonic rumblings and bursts of searing electronic noise, the sound bleary and amorphous, an abstract dreamlike blur of ghostly sound and distant infernal churn that is slowly overtaken by the band's signature use of frantic, improvised percussion.

�� There are moments of eerie gleaming beauty here as well, strains of soft symphonic strings bleeding out of deep rumbling noisescapes, washes of spectral minor key chamber ambience wafting across the blasted, charred apocalyptic wastes of Aderlating's aural landscape. On "The Seer Is Burning", they unfold a vast muted ambient sprawl of strange creaking noises, witchy murmurings, spurts of backwards glitch and clouds of dissonant symphonic strings that hang suspended in the gloom, amid far-off percussive noises and crashing sounds, and massive low-frequency pulses. In moments like those, it's like some abstract horror movie soundtrack, stitched together from mutated modern classical elements and field recordings of abandoned mental asylums. From there, the album moves through increasingly terrible realms of murky doom-laden heaviness, screaming choirs of fallen angels, monstrous moaning utterances and ghastly gasping voices, expanses of cold morgue ambience and reverberating metallic clank, sheets of smoldering distorted crackle, diseased pools of seething dungeon drift split apart by volleys of that violent free-improvised drumming, and rushes of terrifying EVP-esque voices from beyond the grave, all fused together and merged into dense, suffocating waves of black sound that can almost give you the impression that you're listening to some foul, necrotic version of European improvisers AMM.


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