Gnaw Their Tongues


(Copyright © 2006 Piero Scaruffi | Legal restrictions - Termini d'uso )
Spit at Me and Wreak Havoc on My Flesh (2006), 6/10
Reeking Pained And Shuddering (2007), 7/10
An Epiphanic Vomiting Of Blood (2007), 7.5/10
For All Slaves A Song Of False Hope (2008), 7/10
Rend Each Other Like Wild Beasts (2009), 8/10
L'Arrivee De La Terne Mort Triomphante (2010), 7/10
Per Flagellum Sanguemque - Tenebras Veneramus (2011), 6.5/10
Seirom: 1973 (2012), 7.5/10
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After the tentative Spit at Me and Wreak Havoc on My Flesh (2006), Dutch one-man band Gnaw Their Tongues (Maurice DeJong) elaborated a hybrid of hellish shrieks, doom hypnosis, guitar noise, horror samples, industrial drumming and ambient interludes via the EPs Horse Drawn Hearse (2006) and Die Mutter Wahlt Das Todtenkleidchen (2007).

The EP Dawn Breaks Open Like A Wound That Bleeds Afresh (2007) increased the elements of black metal and of noise. The reissue of Die Mutter Wahlt Das Todtenkleidchen (Universal Consciousness, 2009) includes Dawn Breaks Open Like A Wound That Bleeds Afresh.

Reeking Pained And Shuddering (Paradigms, 2007) turned gross exaggeration into a sophisticated art. A series of nuclear explosions and ugly screams propels the booming chaotic orchestral cacophony of Blood Spills Out Of Everything I Touch . The dynamics is even more disquieting in Utter Futility Of Creation, which is both a piece of dissonant chamber music and a soundtrack to a horror movie. The tempestuous Nihilism Tied Up And Burning unleashes a fury of ear-splitting shrieks, machine-gun beats and extreme guitar strumming. Destroying Is Creating is the ultimate in suspense and terror: slowly-grinding percussion and distortion erode the meaning of the human voice, until funeral bells and desperate screams signal the terrifying end. Transition, instead, wastes too much time in its musical commentary to spoken-word passages. DeJong strives to provide a cinematic quality to his music but the best pieces are rather reminiscent of Bosch's apocalyptic visions. An Epiphanic Vomiting Of Blood (Roadburn, 2007) perfected the counterpoint of pummeling drums, operatic vocals, electronic glitches, snippets of film soundtracks and orchestral samples (horns, flutes and strings), all wrapped up in a claustrophobic Khanate-like atmosphere. My Body Is Not A Vessel Nor A Temple It's A Repulsive Pile Of Sickness is an avantgarde concerto of catastrophic percussive noise. The confession of a serial killer launches the apotheosis of horror of Teeth That Leer Like Open Graves, in which symphonic prog-rock a` la King Crimson blends with black metal's worst cannibal nightmares. Sawn Asunder And Left For The Beasts is the soundtrack of hell, with Satan vomiting his genocidal sermon amid choirs of black angels and eruptions of putrescent lava. The search of an ever grander sound leads to the agonizing "music" of An Epiphanic Vomiting Of Blood, basically a series of earth-shaking instrumental hiccups. A similar earthquake is recast into the sparse otherworld of And There Will Be More Of Your Children Dead Tomorrow, inhabited by a mournful choir and driven away by hurricane-like waves of sound until the last harrowing drone, the soundtrack of falling into a black hole. The 2008 reissue appends the martial (and a bit chaotic) ceremony of The Urge To Participate In Butchery. DeJong's gothic cacophony represented a quantum leap forward (towards infernal dimensions) for progressive-rock and doom-metal.

The EP Devotion (2008) was further removed from heavy metal, focusing on noise and drones.

For All Slaves A Song Of False Hope (Burning World Records, 2008) is a more balanced work that nonetheless achieves an exorbitant sense of emotional exhaustion. For All Slaves A Song Of False Hope I is melodramatic and disjointed chamber music bombarded by drums that exhibit no sense of rhythm (just of destruction). The Uncomfortable Silence In Between Beatings was unusually varied and articulate, as it ranged from sparse laments to apocalyptic choir. A Fiery Deluge opts for the massive wall of screams, noise and drones. By comparison the vortex of drones of My Womb Is Barren And I Want Revenge sounds like relaxing ambient music. Aderlating is a powerful theatrical act that relates a soundscape of laments, an evil tide of noise, and a gentle drift of drones. Surprisingly, the album ends with something that actually approximates a song, For All Slaves A Song Of False Hope II, a frenzied black-metal anthem that displayed a melodic theme. DeJong had mastered the technique of collating symphonic snippets and brought it to new artistic heights by combining it with sheer noise.

Rend Each Other Like Wild Beasts, Till Earth Shall Reek With Midnight Massacre (At War WIth False Noise, 2009) contains three lengthy symphonic pieces. The extended format allowed DeJong to use the variable of time in a more creative manner instead of simply packing as much action as possible in a few minutes. A rumble and a siren begin the crescendo of Rend Each Other Like Wild Beasts, Till Earth Shall Reek With Midnight Massacre" , that proceeds towards percussive spasms and neurotic dissonance. Layer after layer, the center of mass becomes more and more blurred. There are screams, thunders and clangors that are generated from multiple sources and all collide against each other, indifferent to any sense of harmony other than the collective effort to create a sense of shock. The orchestral cacophony prevails in the first minutes of Then Shall They Come Oh Master Shrieking From Red Battle Fields To People Thy Dark Realms", but this time the voices emerge from the dense bacchanal as if they were surfing it; and then drowning into it. The mess of symphonic collages, strident noise, booming percussion and witchy shrieks in In Sullen Silence Stalks Forth Pestilence represents a new rabid form of gothic industrial music.

All The Dread Magnificence Of Perversity (Crucial Blast, 2009) was unusually fragmented.

L'Arrivee De La Terne Mort Triomphante (Burning World, 2010) is musically friendlier but emotionally even more hostile than the previous albums. Demonic screams are submerged in the pompous procession of hysterical voices and martial drums of L'arrivee De La Terne Mort Triomphante. Wagnerian choirs rise and fall like devoured by seismic chasms and hurled into space by volcanic eruptions. The military overtone is even stronger in the even more turbulent Les Anges Fremissent Devant La Mort, drenched in catastrophic drumming and buried by a wall of distorted instruments and vocals. It's s protracted agony of sounds that seems to escoriate even the inner layers of flesh. Less ear-splitting but even more chaotic, La Mort Dans Toute Son Ineffable Grandeur suddenly stops and lets something that was hidden come to the fore: a melancholy melody played on an old instrument by an old crackling turntable. Searching for ever more grandiose and intense emotions, DeJong reaches the dilapidated shores of Le Chant De La Mort, in which the terrifying hysteria and the symphonic surges of the first part merge in the second part in one obsessed stream of consciousness. The album closes with Le Trone Blanc De La Mort, an apotheosis of pure suffering that piles up all the elements of the previous tracks evoking a colossal Bosch fresco of damnation.

(Translation by/ Tradotto da Marco Sartorio)

Dopo il tentativo di Spit at Me and Wreak Havoc on My Flesh (2006), il progetto Gnaw Their Tongues dell'olandese Maurice DeJong ha elaborato un ibrido a base di urla infernali, doom ipnotico, rumore, sample horror, percussioni industriali e intermezzi ambient, tramite gli EP Horse Drawn Hearse (2006) e Die Mutter Wahlt Das Todtenkleidchen (2007).

L'EP Dawn Breaks Open Like A Wound That Bleeds Afresh (2007) accresce gli elementi black metal e noise. La riedizione di Die Mutter Wahlt Das Todtenkleidchen (Universal Consciousness, 2009) comprende anche Dawn Breaks Open Like A Wound That Bleeds Afresh.

Reeking Pained And Shuddering (Paradigms, 2007) trasforma l'esagerazione di tali elementi in una sofisticata arte. Una serie di esplosioni nucleari e orribili urla sospinge il boom di caotica cacofonia orchestrale di Blood Spills Out Of Everything I Touch.

La dinamica è ancora più inquietante in Utter Futility Of Creation che è sia un pezzo di dissonante musica da camera sia la colonna sonora per un film horror.

La tempestosa Nihilism Tied Up And Burning scatena una furia di grida assordanti, scariche di mitragliatrice e graffi estremi di chitarra.

Destroying Is Creating è il massimo in suspense e terrore: percussioni che stridono lentamente e distorsioni che erodono il suono della voce umana, fino a quando campane funebri e urla disperate segnano la terrificante fine.

Transition , invece, perde troppo tempo nel suo commento musicale ai passaggi di spoken-words.

De Jong si sforza di fornire una qualità cinematografica alla sua musica, ma i pezzi migliori sono reminescenze delle visioni apocalittiche di Bosch.

An Epiphanic Vomiting Of Blood (Roadburn, 2007) perfeziona il contrappunto dei tamburi, voce operistica, glitch elettronici, frammenti di colonne sonore di film e campioni orchestrali (corni, flauti e archi), il tutto avvolto in un claustrofobica atmosfera di scuola Khanate. My Body Is Not A Vessel Nor A Temple It's A Repulsive Pile Of Sickness è un concerto di avanguardia con catastrofici rumori percussivi. La confessione di un serial killer lancia l'apoteosi di orrore di Teeth That Leer Like Open Graves, in cui il prog-rock sinfonico alla King Crimson si fonde con peggiori incubi cannibali del black metal. Sawn Asunder And Left For The Beasts è la colonna sonora dell'inferno, con Satana che vomita il suo sermone genocida tra cori di angeli neri ed eruzioni di lava putrescente.La ricerca di un suono sempre più grande porta all'agonizzante "musica" di An Epiphanic Vomiting Of Blood, sostanzialmente una serie di tellurici singhiozzi strumentali.
Un terremoto simile è racchiuso in And There Will Be More Of Your Children Dead Tomorrow , abitata da un coro dolente e portato via da onde di suono simili a un uragano fino all'ultimo straziante drone: la colonna sonora della caduta in un buco nero.

La ristampa del 2008 aggiunge la marziale (e un po' caotica) cerimonia di The Urge To Participate In Butchery. La cacofonia gotica di DeJong ha rappresentato un significativo passo in avanti (verso dimensioni infernali) per il progressive-rock e il doom-metal.

L'EP Devotion (2008) è stato ulteriormente ripulito da metalli pesanti, concentrandosi su rumore e droni.

For All Slaves A Song Of False Hope (Burning World Records, 2008) è un lavoro più equilibrato, che consente di ottenere comunque un esorbitante senso di esaurimento emotivo.
For All Slaves A Song Of False Hope I è musica da camera melodrammatica e sconnessa bombardata da tamburi che non mostrano alcun senso del ritmo (solo della distruzione). The Uncomfortable Silence In Between Beatings era insolitamente vario e articolato, si andava da lamenti sparsi a cori apocalittici. A Fiery Deluge opta per un totale muro di urla, rumore e droni.
Al confronto il vortice di droni di My Womb Is Barren And I Want Revenge suona come rilassante musica ambient.
Aderlating è un potente atto teatrale che mette in relazione un paesaggio sonoro di lamenti, una marea maligna di rumore e un passaggio delicato di droni. Sorprendentemente, l'album si conclude con qualcosa che si avvicina approssimativamente a una canzone: For All Slaves A Song Of False Hope II, un delirante inno black-metal che dispiega un tema melodico. De Jong una volta appresa la tecnica della raccolta di frammenti sinfonici l'ha portata a nuove vette artistiche combinandola con il rumore puro.

Rend Each Other Like Wild Beasts, Till Earth Shall Reek With Midnight Massacre (At War WIth False Noise, 2009) contiene tre lunghi pezzi sinfonici.
Il formato esteso ha permesso a DeJong di utilizzare la variabile del tempo in modo più creativo invece che unire più cose possibili in pochi minuti. Un rombo e una sirena aprono il crescendo di Rend Each Other Like Wild Beasts, Till Earth Shall Reek With Midnight Massacre, che procede verso spasmi percussivi e dissonanze nevrotiche. Strato dopo strato, il nucleo diventa sempre più sfocato. Ci sono urla, tuoni e fragori metallici generati da svariate sorgenti e tutti si scontrano uno contro l'altro, indifferenti a qualsiasi senso di armonia se non nello sforzo collettivo di creare un senso di shock.
La cacofonia orchestrale prevale nei primi minuti di Then Shall They Come Oh Master Shrieking From Red Battle Fields To People Thy Dark Realms, ma questa volta le voci emergono dal denso baccanale come se lo cavalcassero, per poi annegare in esso.
Il pasticcio di collage sinfonico, rumore stridente, percussioni roboanti e urla maligne di In Sullen Silence Stalks Forth Pestilence rappresenta una nuova forma di rabbiosa gothic industrial.

All The Dread Magnificence Of Perversity (Crucial Blast, 2009) è un lavoro insolitamente frammentato.

L'Arrivee De La Terne Mort Triomphante (Burning World, 2010) è musicalmente più accessibile ma emotivamente ancora più ostile rispetto ai precedenti album.
Urla demoniache sono immerse nella fastosa processione di voci isteriche e tamburi marziali di L'arrivee De La Terne Mort Triomphante. Cori wagneriani crescono e cadono come divorati da voragini sismiche e lanciati nello spazio da eruzioni vulcaniche. L'ipertono militare è ancora più forte nella più turbolenta Les Anges Fremissent Devant La Mort, intrisa di batteria catastrofica e sepolta da un muro di strumenti e voci distorte.
E' una prolungata agonia di suoni che sembra escoriare anche gli strati interni della carne. Meno assordante, ma ancora più caotica, La Mort Dans Toute Son Ineffable Grandeur improvvisamente si ferma ed esce allo scoperto qualcosa che era rimasto fin'ora nascosto: una melodia malinconica suonato su un logoro strumento da un vecchio giradischi scoppiettante. Alla ricerca di emozioni sempre più grandiose e intense, DeJong raggiunge le rive fatiscenti di Le Chant De La Mort, in cui l'isteria terrificante e i picchi sinfonici della prima parte si fondono nella seconda parte in un unico ossessivo flusso di coscienza .L'album si chiude con Le Trone Blanc De La Mort, un'apoteosi di sofferenza pura che accumula tutti gli elementi delle tracce precedenti, evocando un colossale affresco boschiano di dannazione.

Aderlating, a side-project by Mories, sounds like a continuation of the Gnaw Their Tongues project but a bit more fragmented, improvisational and lo-fi on Devotional Hymns (Shadowgraph, 2010) and Spear Of Gold & Seraphim Bone Pt 1 (ConSOULing Sounds, 2012).

Gnaw Their Tongues stuffed a myriad events into the gruesome visions of Per Flagellum Sanguemque - Tenebras Veneramus (Crucial Blast, 2011) in a somewhat desperate attempt to achieve a form of super-horror that neutalizes the senses.

Maurice DeJong was also active as Seirom, opting for a dreamy, metaphysical, but no less intense, form of music on the download Eremitic (2011), the EP Seiromistkrieg, the EP Forest, the EP Sparkle Night (2013) and finally on the double-disc 1973 (Aurora Borelis, 2012). The album opens right away with a peak of poignancy, Strands of Golden Light (7:48), a wail a` la Robert Wyatt wrapped in loud tragic romantic electronic cacophony that towards the end reveals a streak of monk-like invocations. Never So Lost (6:09) delves into a harrowing Gordon Mumma-esque maelstrom of distortions, still roamed by helpless vocals. As Hills (6:57) stages a drunk invocation smothered in a million whirling buzzing Tibetan prayers and then ripped apart by a drumming apocalypse. An even more frantic rhythm, a cosmic gallop of sorts, propels 1973 (4:35) before a girl's voice commands quiet and nostalgic drones, but the percussive fury soon resumes unabated like a force of nature crashing on a lone soul. A plaintive sense of existential powerlessness also exudes from the brief symphonic and vocal overture Forever (3:22), a sort of collective gospel hymn with no drumming. There is a prompt return to chaos with the dissonant pulsating My Dear (5:41). On the other hand, pastoral sounds of nature percolate into the psychedelic jungle fresco of At Night (6:02), one of the album's more contemplative moments. Ocean waves set the stage for the impressionistic shoegazing elegy of November (6:08). The second disc opens with the brief cosmic vortex of Disappear (3:29), releasing ecstatic and desperate voices from distant galaxies; This segue into a more vibrant version, Never Want To Feel That Way Again (7:25), that adds frantic drumming and (alas) some spiritual spoken word. Deep Still Silent Earth (7:48), however, is another tour de force that restores the powerful tension of the first disc with intensely hypnotic shoegazing distortion and drumming. Another spoken-word piece, Change (4:26), is rapidly drowned by a cold wind of distorted drones and anguished vocals. Another detour into ambient music yields the blurred evanescent vision of Nur Dast Bist Du (6:55), the musical equivalent of a Monet waterlily, but with so much "dirt" buried under the vivid colors. Crickets inject a nocturnal feeling into the delicate psychedelic filigree of For Black Hearts (8:39) that eventually slides into a dervish-tinged crescendo. The ending is Experience the Light (6:05), a madcap dance pierced by the usual volley of fibrillating distortions with the usual ambiguous desolate/celestial overtones that, after a brief spoken-word intermezzo, turn positively catastrophic. The end of the journey is not what one was hoping after the first song's intimate confession. DeJong's philosophical music floods the listener with questions about the human conditions and drains the mind of all possible rational answers.

(Translation by/ Tradotto da xxx)

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(Copyright © 2006 Piero Scaruffi | Legal restrictions - Termini d'uso )
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