(Copyright © 2006 Piero Scaruffi | Legal restrictions )
Sea Of Sand (2007) , 7/10
She Hid Behind Her Veil (2008) , 7/10

The Idaho-based duo Pussygutt (Brittany McConnell on bass and Blake Green on drums) performed droning doom-metal for home-made instruments, chamber instruments, electronics and power-rock trio in the four lengthy pieces of Sea Of Sand (Olde English Spelling Bee, 2007). The concerto for rumble and hiss that opens West (Creature) feels like a slow-moving organism that morphs into a galactic nebula after originating from the mind of a heroin addict. Five minutes into the piece, the band intones a distorted pounding wardance of sorts. This fades into a farting drone that is eventually attacked by the fluttering alien beings of Winter Lights. This piece ventures into a dissonant form of post-rock chamber music that evokes industrial music and musique concrete played by Pere Ubu. The ending is an ethereal drone that lays the foundation for the languid elongated tones of Pavour Nocturnus. This time the guitar and a violin introduce stronger instrumental personas in what so far has been a tragedy played by unknown and invisible actors. It is, again, a very slow jam, soon devoured by the earth-shaking bass lines, but the violin is still alive, and ends the piece on an elegian note that contrasts with the inhumane show that has been going on. Daemon Lover returns to the darkest corners of the universe: sparse galactic sounds revolving around the primordial rumble, that now stands like a totem at the center of the creation. After seven minutes drums and bass start to hit but they lack the strength (or the will) to hurt and suddenly the music decays to a soft buzz from which, surprise, a world of birds, water and rural life emerges.

She Hid Behind Her Veil (20 Buck Spin, 2008), containing just one 47-minute piece, added the violin to the doom ensemble. A cavernous dissonance digs a painful scar in the rumbling depths of She Hid Behind Her Veil until it is swallowed by that monster roar. After twenty minutes of birth pangs, a tortured violin melody is born. In ten minutes it steals the show and remains the sole actor on stage, crying its senseless melancholy to an empty theater. When it stops, there are only distant echoes left in the immense void.

After Gathering Strengths (Olde English Spelling Bee, 2009), they renamed themselves Wolvserpent and released Blood Seed (20 Buck Spin, 2010), veering a bit towards doom-folk and post-rock while maintaining the monster black droning appeal. These two albums were later compiled on the double-disc Gathering Strengths / Blood Seed (Crucial Blast, 2011).

Aelter, the solo project of Blake Green, went for a more cinematic variant on the two albums later collected on the double-disc Dusk Dawn - Follow You Beloved (Crucial Blast, 2011) while III (Handmade Birds, 2011) embraced electronic ambient music and dream-pop.

(Copyright © 2006 Piero Scaruffi | Legal restrictions )
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