Neurot Recordings – 23rd February 2024
Christopher Nosnibor
The band’s website contains, if not exactly a manifesto, an eye cast over the world in which we find ourselves here in the early weeks of 2024: ‘Human singularity, a third world war, scorching deserts, rising seas – it’s all coming for us. The slow grind is already in motion, pushing concrete, bodies, Teslas, skyscrapers, shacks, banks and bitcoin into a collective abyss. Piles of discarded trash will inherit the earth. It’s anyone’s guess as to what happens next. Is this the end of the world? Who knows. Who cares? Stand by with the rest of us and watch it burn. We’re all guiltless. We’re all blameless.’
Here, then, we come to learn the origin of the band’s name, a grim, grimacing irony condensed into a single word. This articulates the sense of pit-of-the-gut despondency we should all feel when we look around us. The drivers to take to the roads in their SUVs to drive five minutes up the road for the school run because it’s raining doing their bit to ensure it’s going to rain a hell of a lot more; the moneyed who jet off for their annual skiing holidays who bemoan the lack of snow without for a second considering the fact that they’re the reason there’s no snow, may be small-scale compared to Shell declaring profits which are double the UK’s climate funding and being pressured to can their ‘green’ strategies in order to siphon off even more for their shareholders, but the point is, we could all do better, much better, but simply none of us is truly willing to sacrifice comfort and consumerism for a future they can’t comprehend.
The accompanying press release delivers a similarly positive pitch, telling how ‘Guiltless creates apocalyptic soundscapes in their imaginings of the surreal return to proto-human civilisation, as well as what life might be like for the survivors of the next mass extinction event on Thorns.’ Prepare to be harrowed, people, prepare to be harrowed. But also, prepare to take a look in the mirror: do you need to buy products from Nestle and Unilever? Do you have to shop at Tesco and Amazon, or are their local business you can buy from? How about loose fruit and veg instead of packed in plastic? And do you actually need that thing, the latest phone model, the delivery from McDonald’s? It’s a tough one: the majority of people who are most driven towards such basic convenience choices are on the lowest wages and are the ones generating the wealth for the rich cunts who will happily watch the earth burn rather than pay tax. You might think they’d grow a conscience for the future their children will find themselves in, but they’re banking on shipping off to Mars before the half of the world that isn’t incinerated is under water. Hey, they can probably take a few polar bears and pandas along, too.
Thorns is twenty-four minutes of hellish bleakness. It’s an EP to play when you’re in the mood for basking in bone-breaking blackness. ‘Devour Collide’ begins deceptively gently, a hum of extraneous noise which is overtaken by some gentle guitar and an understated bass, propelled by rolling toms – then forty-six seconds in, everything slams in, hard and heavy, the distortion rages and the snare crashes like a tectonic event. The riffage grinds to a crawl and churns it way to crushing lows, while Josh Graham’s raw, ravaged vocals sound as if his larynx has been scorched by fire and pollution. It makes for an utterly punishing six-and-a-half minutes, and sets the tone for a truly monstrous set.
It’s a thick blast of flanged guitar which powers in on a wave of thunderous drums on ‘All We Destroy’. It’s a criminally underrated and underused effect, and one which is far more versatile than is perhaps appreciated, with the capacity to create brittle metallic tones with quite the old-school goth vibe as well as sweeping swirls – and it’s a bold ‘whoosh’ which yields to a thick, sludgy grind, as dense and heavy as a mudslide. ‘Dead-Eye’ delivers repeated punches to the gut with its lurching, lumbering low-end tumult, jarring, sinewy guitars and clattering, slow, slow, slow drumming reminiscent of early Swans, but with a doomy metal aspect. It makes for a long and challenging five-and-a-half minutes, which leaves you drained, physically and mentally, weak in the limbs and gasping for air in the wake of its devastating intensity.
The EP’s closer, ‘In Radiant Glow’ starts slow and low, and as such, it’s vibe is classic Neurot. And then, just around a minute in, BOOM! Everything slams in and hits like a tsunami. It’s utterly punishing – and rightly so.
It’s perhaps fair to say that everything is fucked. As I write, the UK government is adamant that it’s bombing of Yemen and a growing number of countries in the Middle East is ‘not an escalation’, while continuing to give support to Israel’s ‘right to defend itself’ against Hamas. No-one would reasonably deny any state’s right to defend itself, but can anyone really justify 25,000 deaths and rising daily as ‘proportionate’ or ‘defence’? Meanwhile, Russia continues to pound Ukraine, and shareholders in weapons manufacturers like BAE Systems are making a killing from all the killing. Well, might as well make as much as you can while you can, eh?
And so, here we are. Twenty, twenty-five years ago, you’d have been labelled an apocalyptic nutter for stressing out over the future and over climate change. Sadly, big business and cunts like Trump and his supporters still will, raving about the ills of wind farms and favouring fracking and nuclear power instead. Even when Venice becomes the new Atlantis, they’ll still be saying the same. But there’s no escaping now that we are fucked. Guiltless know it and they’re not here too win anyone over or to change anything, because they recognise that it’s too late and it’s all utterly futile. Thorns is a dark document which faces the grim reality. Its purpose is not to offer solace, but simply solidarity for those who also realise that we’re on a one-way road to oblivion.
AA
Aural Aggravation 