�� Along with Aderlating's newest follow-up, we finally have this 2011 disc back in stock as well. The first in the duo's Spear Of Gold And Seraphim Bone series, this album continues in the vein of their previous excursions into rumbling blackened industrial, slimy dungeon ambience, and ferocious free-improv. Made up of members Mories (of Gnaw Their Tongues infamy, as well as a member of other, equally blackened and bizarre projects like Mors Sonat, Cloak Of Altering, and De Magia Veterum) and fellow Dutch noisemaker Eric Eijspaart (aka Mowlawner), Aderlating specializes in a particular brand of twisted sonic nightmare, one that billows out across Spear of Gold in phosphorescent flashes of chaotic horror that illuminate a churning, percussive undercurrent.
�� From the rattling chains, monstrous incantations and orchestral disorder that swarms over the beginning of "Black Emperor At The Temple�s Gate", the duo unleash an intensely murky, frenzied sound that shares the faintest similarity with the mutant symphonic dread of Gnaw Their Tongues. The pounding, freeform drumming that rumbles and rattles throughout the mix is, as always, one of Aderlating's signature qualities, like some caveman free-jazz percussive freak-out detonating way down in the depths, the crashing cymbals and rolling freight-train rhythms obscured by the dim light, seething beneath a veil of corroded factory ambience, choruses of ghostly sighs and deep, low-frequency drones. It's a fearsome mix of cinematic sound design, intensely abstracted black metal, pitch-black electronic ambience and an derangement of almost AMM-like percussive tumult that these guys whip up here, hellish wailing voices drifting up from the sulfurous bass-drenched depths, flecks of ghastly utterances mixed with putrid distorted glitchery, and then suddenly they'll explode into something like the title track, a swirling miasma of violent black metal and frantic blastbeats polluted with strange clanking sounds and swarming demonic shrieks, the sound all diffused and bleary, the blasting drums becoming increasingly lost in the sonic fog, further obscured by more random sheet metal clatter and nightmarish chorales. The centerpiece of the album, however, arrives with the epic "Engel Der Wrake"; for more than eighteen minutes, the band unleashes a mutated High Mass of ritualistic percussion and deformed chanting, which later transforms into bizarre, electronically-tinged black metal, the off-kilter blastbeats buried beneath bursts of blaring war-horns, marked by the sudden appearance of a single, malevolent vocal presence that hisses its reptilian malice over the hallucinatory black chaos before it all melts down into a vast expanse of mesmerizing orchestral drift and immense bass tones that pulse mindlessly in the depths. In a lot of ways, this is the most alien-sounding of all of Mories's many projects; fans of his work with Gnaw Their Tongues will obviously dig the dreadful vibe of this stuff, but ultimately Aderlating's hallucinogenic death-improv creeps through a particular layer of hell all its own.
�� Comes in slipcase packaging in a limited edition of five hundred copies.