Etched into this album’s enigmatic fabric are dizzying patterns of electronic soundscapes, an unflinching quantity of bizarre timbres and transitions, and a keen sense of mania.
The saying goes: “In his house in R’lyeh dead Cthulhu waits dreaming.” After listening to “kOsmik,” I’m pretty sure Cthulhu’s writing vicious atmospheric metal.
The unbridled melancholy pouring from each individual note swirls together to forge a blizzard of biting anguish, though amidst the relentless gales, moments of sunlight manage to break through.
When listening to Heretics a few key words came to mind, those being: heroic, brooding, reverend and dare I say, heavenly at times.
Nicholas of NONE discusses the blend of genres, feelings, and energy comprising this solo project of his. He goes into his writing process, what the project represents for him personally, and he also divulges the intriguing notion that NONE is more than just the name of his project, but a deity of his own construction.
In episode forty-three, Duncan Park (Listeriosis, Return to Worm Mountain) delves into each of his projects and discusses what he has learned from them. He speaks about how he came into contact with extreme metal, his love for drone, and how his compositional approach has evolved as he works with more musicians.
In episode twenty-four, we get steamrolled by the sludgy, experimental dual bass, drum, and vocal grind of Burmese’s privileged. We are ported back to 14th century China in HolyArrow’s epic black metal opus, 靖難/Fight back for the Fatherland, and we convulse in the sludge ‘n roll bliss of BUMMER’s Holy Terror.