[reviewed by / autor recenzji : Iaha Crax || ENG]
Maurices de Jong or Mories (born in Suriname) started a few years ago releasing conceptual albums under different monikers, among which Gnaw Their Tongues and lately De Magia Veterum that has also gained notoriety. Under the name of Aderlating , differently from the above-mentioned projects, Maurice and his collaborator Eric Eijspaart approaches the blackened ambient territory using drones and noise layers to depict sensations derived from his multi-faceted imagination. The latest record, “Spear Of Gold And Seraphim Bone”, seemed slightly oversaturated and lacking in cadence and accuracy. Now he has released “Gospel of the Burning Idols on Black Plagve”, a sublabel of the renewed Malignant Records, focused on power electronics and noise-related genres.
“Opening Of The Tomb” delivers a demonical invocation spelled in throated voices and works better when associated with the cover of the record: a men-eating demon with a spell/ seal. The track starts in droning pace and tribal drumming cadence and loses its coherence (and becomes perturbing) as the summoning approaches the end. The author creates an imaginary world reminiscent of Randolph Carter from H. P. Lovecraft’s “The Dream Quest of Unknown Kadath” where some lost Pnaotik Manuscripts were renowned for their suggestive power. The stuttering continues on “A Vulture’s Tongue Disease” with recites from another “gospel”. The massive vocals are accompanied by anemic choral samples and a rock drumming sustained by inconsistent noise effects.
Undoubtedly, artists composing in these extreme genres are gifted with a spectacular imagination. However, in the process of creation, this faculty should be sustained by intelligence or they may fall into the ridiculous. “The Burial Gown Reeks Of Semen” gives birth to thoughts not so commonly encountered, and the sounds you can hear along with insane, undeterred screaming complete a grotesque and perverse tableau. Perhaps, E. A. Poe would have renamed this track “A Tale of Love Beyond the Grave”, and still the deformed, dirty music would better manage to make us feel the abjection of necrophilia.
Maurice de Jong seems to be in search for a sound able to convey in one snapshot an intense sensation he has been experiencing. In this view, he shelves loads of different noises up to a hearing commotion: On “Dragged To The Smouldering Pits Of Infinity” filtered vocals, chorals and samples, drone and dark ambient along with jazz drumming are put altogether in an irksome mélange that gives you the feeling of listening to a garage repetition of Melek-Tha.
The confusion sets its mark on the next track also. “Bondaged In Shame, Disgraced In Fear”, plays on maniacal cacophony, the image of an abused person’s mind. It has a sense of balladry given by drums played in a voodoo rhythm, reminiscent of submission acts commanded by sadists on their victims. It track could be an tender extension of Stalaggh’s “Project Terror”.
“Spewed On By Slaves Of Inhumanity” contains a tragic melodious line interrupted by cymbal and beating noises. Again, accidental sounds are thrown into our hearing field from nowhere and make us feel uncomfortable. Finally, “Gospel Of The Burning Idols”, the last track of the recording, is centered on a tingled hiss oozing around one’s mind like a circular neurotic scan. It can cause nausea when listened to more than once.
The Dutch prolific artist seems to have an unstoppable creative need and experiments in every area of underground extreme genres. With Aderlating the listener is introduced to another facet of his personality that may be as much as interesting – although certainly not as valuable – as the music expressed through his other projects.