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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).
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