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Hailing from the Midwest,
Brobdingnagian, named after fictional land in Jonathan Swift's 1726 satirical novel "Gulliver's Travels",
emerged with the single-sided cassette TortureStainedDisaster (Rusty Axe, 2008),
Their music blended
metal overtones, free-form dissonant electronics and erratic percussion.
Opening with the demonic dance of Smeared Faces in the Ruins,
the album delved into
power electronics with the nine-minute
Harvester of Disease, an abstract piece of harsh cacophony overflowing with expressionist angst,
TortureStainedDisaster adds found voices and digital hardcore.
Poison Tongue/ Bloody Throat is a grindcore band playing old
Factrix compositions.
A rather confused work, but with coordinates that point to a disturbing land
of anarchy and violence.
Pretty Magoo Cancer (Universal Tongue, 2010) was a mature statement of
their anti-art.
The overture,
In a Hallway In a Doorway In a Room, is a dense and hypnotic mix of collages, noise and drones, but that's just the appetizer.
If Their Worm-Like Tongues Gouge Out My Eyes is unstable and confused,
a multi-part suite that ranges from the vicious punk-rock attack of the beginning to the extreme cacophony of the noisiest section, and
My Mouth Tastes Like Blood My Blood Tastes like You
is simply a five-minute wall of noise,
the 14-minute We are the Carriers of Infection and Grief displays a
more cohesive and articulate method:
industrial pounding and miasmas, a firestorm of dissonance, infernal shrieks
and a terminal drone combine to create maximum psychological tension.
The 21-minute Pretty Magoo Cancer is perhaps ten minutes too long, and often loses momentum, but the way that
guitar and drums lead a dizzying square dance which then turns into
a chaotic bacchanal, and the manic,
Boredoms-ian crescendo
that begins at minute 11 open the gates of hell for pilgrims of the noise aesthetic.
The harshest aspects of their method permeate three of the
four songs of the EP With/hisawfulteetH (2012), notably the brief
When we had no bones and the power-drilling second half of
Trampled By White Elephants, while the fourth one,
The Loveless, aims for a more subtle atmoshere.
The collage aspect of their art was more prominent on Backpfeifengesicht (2020), but at the expense of impetus.
The pieces generally undergo several mutations, with pros and cons.
Burning Points has two moments of intimidating firepower, a
frenzied collage at the beginning and tribal drumming in the middle.
Feral Children Speak with Bloody Grunts swings from extreme violence to irresolute noisescape.
And so on. On top of the incoherence, there are also too many vocal samples
that detract from the overall impact.
At best, I Imagine Myself Choking Sometimes begins as a close relative of a regular song before a torrential outburst of Captain Beefheart-ian chaos and anti-pop dementia a` la Fugs' Virgin Forest, both annihilated by a black-metal eruption.
(Copyright © 2020 Piero Scaruffi | Terms of use )
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