Prurient


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

Fossil (2004) , 6.5/10
Pleasure Ground (2006) , 6/10
Bermuda Drain (2011), 5.5/10
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British-born New York-based super-prolific noise artist Dominick Fernow (who released more than 20 works in 2007 alone) blasted vomit-like shouts, ear-piercing eruptions of feedback and grotesque rhythms in the hour-long Collaboration (2000), in the two colossal pieces of Fossil (2004), in the 30-minute The Baron's Chamber (2005), and in the four suites of Pleasure Ground (2006). His reputation was established by visceral live performances.

Fossil (2004) was the manifesto of his free-form phase. With You is a sadistic collage of brutal ear-splitting noise and shrieks in various shapes ending with the annihilating crescendo of a cosmic drone. Where this piece is structured as a sequence of variations on a theme, Waiting concocts a denser, monolithic mass of noise that is less about morphing and more about insisting in its self-destructive metabolism.

Pleasure Ground (2006) refined his psychological art of contrasts with better focused compositions. Military Road explores an extremely shrill drilling sound, a filthy crackling sound and a thick repulsive drone while declaring war to the world. Earthworks/ Buried In Secret, possibly his most harrowing piece yet, overlaps and juxtaposes a dense noise containing a vibrating melody and a wildly distorted vocal pandemonium.

All Are Guests In The House Of The Lord (Hospital Productions, 2007) was a collaboration between Prurient and Kevin Drumm.

The mini-album Arrowhead (2004 - Editions Mego, 2008) was relatively trivial.

Ash Pool was the black metal project of Prurient's Dominick Fernow that released Genital Tomb (Tour De Garde, 2006) and World Turns On Its Hinge (Paragon, 2007).

Prurient's EP Rose Pillar (Heartworm Press, 2009), containing five short pieces and the ten-minute Spins The Worlds Wheel Again, was a requiem to a family member of Dominick Fernow's and was originally issued with a book. Drones and repetition help to shape the pathos of Yellow Trumpets Grow In Darkness and Gardener Of The Broken Arm, displacing the extreme dissonance of his early days. Drumm collaborates on Hammer With Forty Names, the piece that is closer in spirit and practice to the orgies of the past. Spins The Worlds Wheel Again has the most touching drones, which, coupled with the usual beastly vocals, deliver a semantics and not only a syntax.

Ash Pool's For Which He Plies The Lash (Hospital Productions, 2010) veered towards a more humane style, closer to garage-rock than to the stereotypes of black metal (Holocaust Temple, Big Bang Black Metal).

Prurient returned with the user-friendly synth-heavy Bermuda Drain (Hydra Head, 2011) that disposed of both the lumbering white noise and the gothic droning ambient music of the project's best albums.

Dominick Fernow and Furisubi's Kris Lapke launched Christian Cosmos with two EPs of industrial dance music: Enthronement By God As The First-Born Of The Dead (2011) and The Sharp Lines That Delineate His Robes (Bed Of Nails, 2012).

Fernow also launched Rainforest Spiritual Enslavement, that debuted with Water Rose Above The Head (Bed Of Nails, 2013), Bronze Age, etc.

Vatican Shadow is documented on the four-cassette set Kneel Before Religious Icons (2011), with sophisticated industrial pieces like Chopper Crash Marines' Names Released (the highlight) and Gods Representative On Earth as well as incursions into ambient funk (Worshippers At The Same Mosque) and polyrhythmic horror dance (Missing HMM364 Squadron Purple Foxes Assassins). Ornamented Walls (Modern Love, 2012) simply collects a cassette and live rarities. After the mediocre Ghosts Of Chechnya (2012), the four lengthy suites of Atta's Apartment Slated For Demolition (2012) continued the original program of minimalist rhythmic repetition with a stronger appeal to the dancefloor (There Was A Black Banner On The Floor) and a bit of existential anxiety (Al Qaeda Possess Nuclear Capacity, that could be the remix of a dark-punk song from the 1980s). The highlight of Remember Your Black Day (2013) is the eight-minute gallop of Remember Your Black Day, but this is another inferior work. on which the gothic overtones of the heavy-metal guitar riff of Enter Paradise lead nowhere and the funky shuffle of Jet Fumes Above The Reflecting Pool borders on lounge music instead of industrial music.

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