Enbilulugugal's debut album "Noizemongers For Goatserpent" was a putrid eruption of low-fi black metal, harsh noise and experimental, anti-musical weirdness that arrived with a splat on the black/noise underground in 2004, infused with a Black Legions-style mix of weird invented mythology and garbled language. The album first appeared as a super-limited CDR released by the now-defunct Rusty Axe label, a home for some of the most demented experimental black metal of the past decade, and has been out of print in the physical realm for nearly a decade. It's been one of Crucial Blast's favorite releases from the band, a vicious, hideous mass of churning blackened hatred and brain-warping chaos that has now been resurrected as a deluxe double disc set that features more than an hour and a half of bonus filth, all re-mastered for maximum ear-hate by Enemata Productions, and presented in a new digipack design with artwork from acclaimed underground illustrator Jeff Zornow.
The first disc features the original "Noizemongers for GoatSerpent" album, a twenty-nine "song" assault of hyper- distorted blasphemy blasted out in minute-long eruptions of noise and violence. Barbaric black metal riffs and monotonous, primitive blastbeats are bathed in corrosive static, while bursts of stomping, catchy punk rock, insane cut-up experiments and harsh electronic noise all surface within Enbilulugugal's bubbling bouillabaisse of blackened filth. The songs will suddenly lurch out of some blown-out, psychotic black metal blast into a bizarre noisescape of backwards screams, fluttering keyboard noises, swarming digital glitchery and noxious, garbled riffs, or turn into a kind of blackened power electronics, with gales of black static punctuated with those feral screams. Some of the other tracks on "Goatserpent" are nightmarish, drug fueled noise-hallucinations like "Goatoplasm" and "Raped by Mammoth", where blown-out calliope melodies, weird synth sounds and trippy effects are liberally smeared over the sickening noise, and there's some other forays into even greater depths of improvisational madness. Izedis's vocals match all of this insanity with a combination Abbath-esque croak and drooling high-pitched screams that echo wildly over the slimy low-fi chaos and primitive black metal. This album still sounds as extreme as it did back when it first came out, a brain-damaged meeting between the primitive savagery of Von, early Beherit and Ildjarn, and the extreme psychedelic electronics of Japanese noise groups like Masonna and Incapacitants that reaches some sublime moments of ear-shredding evil and infectious necro-chaos. There's a perverse, utterly profane sense of humor in the song titles and cranked-up, psychotic visuals, but Enbilulugugal was dead serious in its drive towards depravity and extreme violence through black noise.
The other half of the first disc has Izedis's "TnepreStaoG Rof SregnomezioN" "remixes", which uses the original "Goatserpent" album as the raw material for an onslaught of extreme electronic noise. The source material is rendered nearly unrecognizable, twisted and transformed by Izedis into washes of ghostly electronic synthdrift and harsh distorted noisescapes, sometimes taking on the appearance of demonic shortwave transmissions coming from outside our Universe, crushing cosmic synth meltdowns, or even more distorted and deformed blasts of glitch-riddled, chopped up black noise.
The second disc in the "Goatserpent" set is loaded with rare compilation tracks, demo material and other out-of-print recordings from Enbilulugugal that includes the band's tracks from three of the "Under The Axe" compilations, the tracks off the "Exhibition the First" and "Sacrifice at the Altar of the Satanic Blood Angel" compilations, the "Bloodbath in Darkness" online EP, the tracks from the split with Gromkult, and the "tnepreStaoG" and "taoGtnepreS" demos. These tracks offer up a howling vision of low-fi blackgrind awash in Merzbowian distortion, fucked-up necro-noisecore, foul shambling dirges, passages of ghastly dungeon ambiance, and some KILLER blasts of discordant blackened punk that features a slightly more "musical" side of Enbilulugugal's snarling chaos.
Although these recordings are shot through with moments of dark distorted majesty and crushing black metal riffage, Enbilulugugal's "music" is about as extreme and as noisy as it gets within the realm of black metal, with a low-fi aesthetic and tendency towards total sonic overload that'll test the most ardent necro-addicts. Fans of the damaged black/noise/metal and outsider black metal of bands like Furze, Lord Foul, Ride For Revenge, Wold, Demonologists and Wrnlrd will find much to enjoy here. All others, beware...
released 29 October 2013
All HellBlasphemies were recorded during Fullmoon Winter 2004
We hope you FUCKING HATE IT!
All tracks not so produced by Izedis at Black Vomit Studios.
Mastered by Enemata Productions during Fullmoon Ritual, April 2013.
Cover artwork (front/back) by Jeff Zornow.
Izedis: VoKILLz, Noize/Effects (Appears on All Tracks)
TheCoprophiliac: HellAxe (Appears on Disc I: All Tracks, Disc II: Track 1)
Alcoholonomicon: HellAxe, GoatGutz, GoatSkinz, Noize/Effects (Appears on Disc I: All Tracks, Disc II: Tracks 2-5, 13-20)
Nebiru: HellAxe (Appears on Disc II: Tracks 13-17)
KumSlinger: HellAxe, GoatGutz (Appears on Disc II: Tracks 6-11)
Davillian: GoatSkinz (Appears on Disc II: Tracks 6-7)
Syntax A: GoatGutz (Appears on Disc II: Tracks 8-11)
A. McKenzie: GoatGutz (Appears on Disc II: Tracks 13-17)
BRGRGBR: GoatSkinz (Appears on Disc II: Track 1)
??????: GoatGutz (Appears on Disc II: Track 6)
Crucial Blast is an independant underground label and online shop specializing in cutting edge, experimental heavy music and
related cultural artifacts, with a particular focus on blackened avant-metal, nihilistic noise/industrial, dark ambience, infernal psychedelia, and hardcore improv/free-jazz....more