It was written in the stars: Centipede Abyss and Apothecary were meant to join forces sooner or later. I am glad that it is not that much ‘later’, even though ‘sooner’ would have been nice too. But I won’t complain, for here we have it: the first (…and hopefully not the last) result of this unholy marriage…
Mirroring eyes with a hollowing moth…
As we do all know, the Centipede Abyss community consists of bands with strong relationships in between the members. Okay, not all projects share musicians, yet many (most) of them are like an intra-familial gathering. With Zvylpwkua it is not different. This North-Atlantic outfit (I mean, the members hail from both the United Kingdom and the United States) still consists of Ionnonnisssz (involved as well with e.g.
The Centipede Abyss is a strongly upcoming community for Extreme (Metal) Music acts with an outsider-thinking attitude. Several musicians share different collaborative acts, showing the inherent and strong connectedness in between these same-minded (or is it: lunatic-minded) human beings.
One of Australia’s most characteristic acts must be Blacnk (no, this ‘name’ has not been misspelled), a one-man outfit by an unidentified human (?) creature from Perth, named Grey Blacnk. In quite a short time, he recorded some unique albums, combining grim Black Metal aesthetics with psychedelic elements. The most recently recorded Blacnk album, Sleeping Under Clouds Of Gripping Anguish, is the first that gets released in partnership with Centipede Abyss.
It can be said that we dwell apart from the invisible world, and there we do not dwell alone. In places unlit, companionships are formed with words that are confined to dark recesses… akin to a Cave that holds within, all the imagined twilight wonders and befouled terrors…
There is wonderful terror beyond your crawling skies…
Centipede Abyss is one of the most out-of-the-box thinking labels lately, a collective of very open-minded and creative artists. This review deals with an album that was released earlier this year, yet which shows the intriguing content of both the label, as well as the artist behind this outfit. And I just want to finish and publish this debut for Vertebrae Fetish Totem as soon as possible, because a second recording will be released soon.
I wasn’t sure how to start this review. I think it is not necessary to focus on the history about this duo; in case of interest (and why shouldn’t you, except for when you are trusted with this act’s, eh, unique sound-sculptures), I’d kindly want to ask you to read one of the former reviews I did about this project (links: see below), or to visit their Facebook / Bandcamp, or whatever, pages.
The pretty young label Centipede Abyss for sure is one of the most surprising revelations lately when it comes to the harsher side of sonic complexity and progressed Aural Art. Trespassing conventions of what ‘Music’ is supposed to be for the grey masses, is like the goal for this label’s releases.
A gathering of two, well, how would I call it, eh, ‘different’ or ‘unusual’ entities…
Never mind; why should I search for certainty or familiarity, seen from the aural spectrum behind / beyond this ‘musical’ void anyway. Opposites do attract each other, yet so do creatures that are different -and therefor related- from ‘acceptance’ or ‘admission’, sharing a mutual identity for audible divergence and sonic aberration. …which easily takes me to this remarkable split, nicely called Shaping Fatal Principles.
