[Reviewed by: Iaha Crax]
After a few minutes of audition of this Futility Rites album signed by Erie from Pennsylvania, under the moniker of Abjection Ritual, you will be left with only a couple of immediate choices: either to turn it off and go take a breath of your miserable city or taste some strong alcohol and keep on enduring the atmosphere (without giving up drinking). The level of oppression is all the more unbearable as the musical structure is sparse and rarefied up to a dissecting room styled minimalism. There is a colloquial individual translation of Steel Hook Prostheses and Atrax Morgue, executed with the indifferent sadism of a voluntary tortionist. “Aversor” is the song chosen for opening, but its impact on the senses is so huge that it could singlehandedly represent the whole album. The Megaptera-esque death ambient is nuanced by Haus Arafna cynical electronics and colored in a satanic vocalized paint, pointing to the German project RXAXPXE.
The tracks that follow, “Barren” or “Objects Of Wrath”, appease the convulsive agitation of the stimulated thanatic coitus, projecting a form of vicious, muscled power electronics. This slow-motion Whitehouse style delivery captures the dementia of post shock-electronics from their early times, yet no longer choosing controversy and self-inquiry, but rather serving on a plateau for our supper the carcass of the world as it is when we open the door of our humble house, an object of starvation and wrath.
Abjection Ritual has previously released only 2 CDRs, but the level of accuracy displayed on “Futility Rites” suggests a longer preparation of simply terrific lucidity, and knowledge of the arts. From the contortionist dirge “Scum Immersion”, the intellectual short clinical essay “Thrust In Thy Sickle and Reap”, to the fungous, focalized congestion “Entropic Embrace”, the electrocutioner Erie displays his efficient tools by drawing a Dali-esque fin-de-monde tableau.
The artist’s inclination towards the dark ambient regime of electronics is a point of importance in approaching the project, and applauding the rough finesse of his work; in this view, he stands between the sibling projects Inade and Ex.Order.
The title track pounds feverishly like a desacralized Trepaneringsritualen or In Slaughter Natives with an obvious appetency for madness and psychoanalytical insight (vocalizing à la M. Bladh), while “Tabernacle Of Teeth And Tongues” discloses a post-apocalyptic funeral rite.
Bearing in mind the Christ from the cover of the disc, my doubts of consuming His flesh on the next transubstantiation mass are now less than before, provided that the priest performs the Futility Rites composed by Abjection Ritual.