[Reviewed by: Iaha Crax]
When god was declared dead by philosophy, man was confronted with a compulsive challenge: to ascertain another point of reference based on a rational explanation for existence. Science or egocentrism are still standing on volatile grounds. It’s fair to say that after setting aside a disconcerting self-illusionism, only artists are able to picture an image of this modern state of existence in undecided bereavement and disequilibrium. Among these creators without a Creator we find the American Andrew Grant with his death industrial project The Vomit Arsonist. The introduction song “Think God Out Of Existence” situates the reader/listener in direct insight of such an absolutist, in terms of negativity, perspective.
The tone of the disc is set out following this mandatory coping with an absurd existence which is aggravated by decease. There is no continuity beyond reality’s plane: “At The Edge Of Life, Everything Is An Occasion For Death”. And this dying and catastrophic all becomes a muse to inflict and filter an artistic sense of violent despondency. Within the record the sounds are fatally fused through intentional aggressiveness and spite towards a rational explanation of life: this second track blows fiercely in percussive pumping, similar to a non-symphonic Karjalan Sissit merged into a Gnaw Their Tongues insalubriousness.
The American artist further changes his approach into a power electronics rumbling accessorized with a drone substance and harsh, dissenting vocals akin to Fire In The Head. “Invita Minerva” shows his acquaintance with rampant audio musical violence that seeks action where artistic inspiration fails, and mumbling irrational fetishism takes its place.
A coincidental paradigm feeds this rebellious pastiche back into the next delivery, “Black Bile”. Here we have in coincidentia oppositorum the fervor revolt of the ars militaria style, together with the decadent perversion of a poetical spleen. Like a soldier with nothing to fight for and nothing to flee from, rhythms of honor and resistance are mangled into decayed tonal stenches. The Vomit Arsonist bears a particular style-stamp made of linear percussion articulated on doom/ bleak ambient – satanic in effectiveness, reminiscent of MZ 412 on “Infernal Affairs” – and nuanced by deflective spiteful vocals.
This whole heavily consolidated, noise-scented fortress is carefully detailed in order to connote philosophical aspects of the artist’s personality. “Torn Between Will And Desire” – by all means the brightest track – flows menacingly in noise-crumbling frequencies towards an expected explosion. Thus, the resonating conflict that opposes one’s will to his outbalanced desire is illustrated with a realistically epic sense and moved towards an inexistent solution. This will to take life further and gain material possessions is indirectly hindered by libidinal felicities, and like in the Stendhal novel ‘The Red And The Black’ this tragic hero – something which that man thinks he is – cannot find resolution but in death.
“The Absurd” follows with a rhythmic, strongly sardonic beat movement, facing a confusing ambient flux punctuated by blindfold vocals. It almost makes you feel replicated in fruitless residual aspects of your own personality in this endeavor to find a scope for life. And as you are unable to determine such an objective, The Vomit Arsonist offers you a “Means To An End”, closing the album expressively. The track literally works as a slow process of asphyxiation; you are progressively buried under slabs of drones until only a disinfected voice remains.
The Vomit Arsonist exists since 2004, and I believe that with this Malignant productions release has now offered his major record. It is the brightest occasion to become acquainted with his craft and death.