Gigan, formed in New York by guitarist Eric Hersemann, debuted with the
highly technical death-metal of
The Order Of The False Eye (Napalm, 2008), but,
despite the eight-minute Hiding Behind the House of Mirrors ,
the output sounded more like a personal showcase of the leader's virtuoso
playing than an organic piece of music.
Nonetheless, that laid the foundations for a style rooted in
ever-shifting rhythms, synth-tinged detours, and post-rock eccentricity;
the foundations for
Quasi-Hallucinogenic Sonic Landscapes (Willowtip, 2011).
Its opener, Mountains Perched Like Beasts Awaiting the Attack,
is a labyrinthine and hyper-blasting piece that swings between
Hawkwind's space-rock and
Jimi Hendrix's psychedelic noise,
just with ten times more virulence.
The last four minutes of the eight-minute closer Fathomless Echoes of Eternity's Imagination are one long guitar distortion.
The grotesquely stuttering and demonically explosive The Raven and the Crow
is easily matched by the vicious relentless assault of
In the Tentacled Grasp of a Buried Behemoth.
Relocating to Chicago,
Eric Hersemann reformed and transformed the band for
Multi-Dimensional Fractal Sorcery And Super Science (Willowtip, 2013)
that contains the
dizzying nine-minute tour de force Beneath The Sea Of Tranquility.
The sidereal propulsion of Electro-Stimulated Hallucinatory Response
is such that one is surprised that it can get tamed towards the end.
While the breathless Mother of Toads is a reminder of Gigan's roots,
the magniloquent finale of Obsidian Sun and the digital disturbances of
Bio-Engineered Molecular Abnormalities point at further decay.
These albums are pure sensory overload.
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