Transcending Obscurity Records – 19th January 2024
Christopher Nosnibor
Every day, every week, the world descends further into a pit of shit of human making. I feel as if I’m continually circling back to this same premise to frame almost every discussion, not just when writing about music, but any conversation I have about pretty much anything. The sad fact is that there is simply no escaping the fact that it’s not just me personally, but the whole of our existence which hangs under a cloud of gloom.
Only this afternoon, my mother texted me in her usual cack-handed typo-filled fashion bemoaning the succession of storms which has battered the country this week, commenting on how she can’t get over it and asking what we’ve done to deserve such crap weather. I simply couldn’t face pointing out that things have been heading in a bad direction since the industrial revolution and that we’re pretty much driven off a cliff at full speed in the last fifty years thanks to capitalism, and what we’ve done to deserve is fucked the planet with greed. She probably wasn’t really looking for an explanation, and likely wouldn’t have appreciated or even understood if I’d given one. Meanwhile, wars are raging around the globe, and escalating on a daily basis. And because we don’t have quite enough death and destruction, the state of Alabama has seen fit to pilot slow and painful executions by nitrogen gas. What the fuck is wrong with the world? And is it any wonder we’re experiencing a massive mental health crisis?
In the face of all of this, you do what you can to get by, and while many will advocate meditation and calming music as an alternative, or supplement, to medication, catharsis can also provide a much-needed means of release. And after releasing a couple of well-received EPs, Australian band Resin Tomb have dropped their debut album, Cerebral Purgatory. It’s a title which pretty much encapsulates the condition of living under the conditions I’ve outlined above – and purgatory is the word, because there is no escape and it feels neverending. The first track, ‘Dysphoria’ perfectly articulates the existential anguish of life in these troubled times. Again, the title is spot on: I frequently see – and have likely made my own – mentions of how we are seemingly living in an amalgamation of every dystopia ever imagined. But what is the psychological response to this? Dysphoria: ‘a profound state of unease or dissatisfaction’, the antonym of euphoria. Much as I do sometimes feel like cheering humanity to the finish line in the race toward self-extinction, for the most part, I feel not simply gloomy or pessimistic, but a deep sense of anguish and anxiety, not to mention powerlessness. And I am by no means alone – although it’s more apparent from time spent on line than conversations with friends, family, or colleagues, perhaps because people tend to shy away from heavy topics for the most part, and instead prefer to shoot the breeze about the weather. But ‘Dysphoria’ is a brief, brutal blast, gnarly mess of difficult emotions articulated through the medium of full-throttle guitar noise and vocals spat venomously in a powerful purge.
As their bio puts it, ‘They’ve forged their own sound which is a remarkably cohesive mix of dissonant death metal, gravelly grind and somehow even thick, blackened sludge.’ And yes, yes they have. And it’s a dense, powerful, racket they blast out. There’s little point in drawing on references or comparisons: there are simply too many, and they all tumble over one another in this cacophony of monstrous metal noise, a flaming tempest of gut-ripping heaviosity.
‘Flesh Brock’ packs tempo changes and transitions galore, packing more into three minutes and eight seconds than seems feasible. And in packing it all in, the density reaches a critical mass which hits with the force of an atomic blast.
Four minutes and twenty seems to be Resin Tomb’s sweet spot, with four of the album’s eight tracks clocking in at precisely that. And when they do condense so much energy and weight into every second, four minutes and twenty seconds affords a lot of room.
The title track comes on with hunts of Melvins, a mess of overloading guitars and a bass so fucking nasty and so forceful it could shatter bones, melding to deliver a colossal bastard of a riff. ‘Human Confetti’ comes on heavier still, pounding away with a pulverising force and playing with elements of discord and dissonance in the picked guitar line – and while the lyrics may be indecipherable, the title alone conjures a gruesome image.
If ‘Purge Fluid’ and ‘Concrete Crypt’ again convey their fundamental essences in the titles alone – and these are absolutely brutal, punishing pieces – the album’s final track, ‘Putrefaction’ absolutely towers over the murky swamp of black metal and grindcore with a dramatic, nagging picked guitar and a cranium-crushing wall of noise. Holy fuck. It hurts. And good. Angry is good, and better to channel that anger into art than knifing people in town on a Friday night. That’s one for another time, perhaps. At this particular moment, we have this – an album so heavy, so violent, it’s an exorcism.
AA
Aural Aggravation 