Post-Nihilistic Landscape has some of the more well-crafted harsh textures, implemented freely without any evocation as to what its next move will be. Initially, the artist went under various monikers for several years, with styles kept experimental, with electronic influences. After a few years’ hiatus, Vøhrm was founded in the silent years that conjured the roaring music we hear now. Releasing two mini-albums, the first one “Unhuman Rites” on German netlabel ‘Attenuation Circuit’ and the second, being self-released, “Post-Nihilistic Landscape.” The notable uses of ground, cultivated installations of radioactive, thick distortion, will seize your spirit in the most extraordinary passages. Especially with the artist’s recent releases, ‘The Sickness of Being Vomits A Black Sun of Spit’ and ‘The Myth of Free Will’ are developing into more organized storytelling rituals through the cold stones of atmospheric instruments accompanying a post-apocalyptic glow.
Stylistic and wholly eccentric, a complete divergence from matter and formation. Music is flayed into impermanent shapes, flowing in and out, forgotten then found. Plowed Effigy (Taylor Harris) has released one other album, Talus, in September 2020, about Southeastern Minnesota’s Driftless Region’s history. Both magnify the fullest extent of free jazz and ambient mixes that pulverize into hallucinatory elements.
Sounds of disembodied staves, notes scattered everywhere, elongated metallic rings shooting through orchestral madness. Sebadoh versus Helmet quickly became an utterly addictive playground of restless, relentlessly surprising noise.
PAIN collects synths and ambient drones running through a synthetic world. Each track includes oscillating detail to a minimalist degree, as the sounds are slightly glacial and piercing but only shift through pulsating loops and monotonous arrangements, nevertheless coating the listener in their illumination.
PAIN A & PAIN B contrast in that the first is a dark star revolving from mediocrity into a sharpened and refined voltaic structure. We don’t hear the rancorous metallic washes nearly to the effect of the industrial noise fundamental in PAIN B.