Everything Is Connected Art and Conspiracyã¢â‚¬â„¢ Review Paranoid Imaginings

Much of the work of Veil of Thorns and of Choronzon are from the point of view of one being overwhelmed by an onslaught or a flood. This stems from a feeling and repeated visions and dreams starting at the get-go, making it hard to go along to conventional modes of production. How to express warnings and create lines of flying out of the Spectacle without existence reterritorialized and thrown back into the machine? The isolation of those who are not idiots insisting on spreading disease as far and wide to prove to themselves that they are of the privileged who will not be footing up in the impending fascist era and witnessing the suicidal madness of the normal machinic management of gluttonous uppercase permeates the feeling of this release.

01. However Encarmine Action

02. Slumber, Cut And Run

03. Intellectual Institutional Object

04. And The Beast Of The Vision Nonetheless Roams In Dreams

05. Sepulchral Reminder (Torment Rose)

06. Nearer To Hell (Ideological Corpses)

07. The Play Is The Thing

08. Nocturne

09. Infinitude

ten. Seduction

11. Windows Blacked Out

12. The Bell

13. Democratic Anonymous Dissonant

xiv. The Thing Is In Play

xv. Imagination Thieves

16. Veiled Shadows Gaze

17. Soul Intervention

Nearly Veil of Thorns

Veil of Thorns is an ever evolving concept born of the fevered brain of P. Emerson Williams. Among the growing list of

collaborators one tin find authors, actors and musicians of many genres, reflecting the telescopic of what P. Emerson

Williams calls Necrofuturist art.

Both "Salon Apocalypse" and NECROFUTURIST grew out of the process of working on "The Abattoir Pages" as part of FoolishPeople. The intention was to finish "Salon Apocalypse", as the concept I had been working with for this release was in the same realm that John Harrigan tapped into for "Abattoir Pages". Through countless sleepless nights and days of madness, "Necrofuturist" wrote itself equally a further expansion of the studies and current nosotros were working with. I would not have chosen to have on so much in such a brusk menstruation of time, just I really had no choice in the matter.

"Salon Apocalypse", "Necrofuturist" and "Slaughter-house Pages" are inextricably linked, through current and source materials, all preparing the ground for a future work, for which all this work is a mere prologue.

"Both releases are giant steps in a management one would not have suspected subsequently "Cognitive Dissonance". In fact, equally I go through the Veil of Thorns catalog – this is shut to the shift that occurred with the 2003′s "Birthed"." - The Other Sound Magazine

Information technology's a masterpiece from beginning to end. P. Emerson Williams is brilliant. He is a master musician whose power to dive into the darkness – while remaining a musician, is unprecedented in our mod age. Where other artists like to rely on shocking lyrics, or cool effects… Williams writes good musick, and plays most of it himself – once again "masterfully". "Salon Apocalypse" is a aural drama played out for your ears. Information technology weaves in and out of a apocalyptic story line that is just out of reach… The musick… ah, the musick. Information technology'south out of achieve to. Death Metal, ambient, noise, industrial, hip-hop, vocal…. it's all there. Seamlessly. Think of it as a production. Perchance a musical of the insane… simply showtime to finish it's complete luminescence. Pulling 1 track out makes no sense, every bit the release every bit a whole plays as a complete work. The musick is everywhere (gothick, metal, hip hop, ambient, everything), notwithstanding the release is incredibly cohesive. If you are interested in hearing flake'due south and pieces then melody into Inner-X-Musick Radio… information technology should pop up some what often. -TBM

Veil Of Thorns - Salon Apocalypse/Necrofuturist (Inner X Musick)

Two collections of strange ambiences, dystopian noisescapes and cinematic out-thereness from P. Emerson Williams, who periodically unleashes bursts of his weird sonic art upon the world from his Bond villain-style base of operations in Florida. Really, I fabricated up the bit about the Bond villain-way base of operations, but there'south certainly a sense that this music comes from somewhere quite detached from the everyday world. If it doesn't emanate from the crater of a hollowed-out volcano, it should do.

Necrofuturist runs the gamut from the future-folk of 'Through The Fire' to the psychedelic voodoo ritual of 'The Vandal's Exquisite Corpse' - I'll exist very disappointed if the back-masked voices on this one aren't reciting some sort of invocation to enhance the dead. But then there'south the cursory interlude of 'Flit', a foreign state three-pace, all chiming guitars, aptitude notes and echoes, like something the KLF would've put on Arctic Out. Meanwhile, 'The Reflection' is all swelling, spooky drones, as if David Bowie decided to remake Low in Tibet. If this makes it sound like there'due south a bewildering variety of music here, that'due south considering there is - but it all hangs together in a blur of ambience and iconoclasm and other-worldly grooves.

Salon Apocalypse is a nevertheless more than capricious beast. 'Still Encarmine Action' mashes folk-disco with metallic mayhem; but, further in, 'Windows Blacked Out' sounds like the city's small-hours madness, recorded by dangling microphones from the acme of a skyscraper. 'The Thing Is In Play' wrests things in yet another direction: stuttering, nervy, electro gives mode - incongruously, scarily - to sounds of stress and conflict, half-heard through walls. This is the soundtrack to the film flickering in your midnight imagination. Be sure to lock the doors tonight. And stay away from the volcano.

'Windows Blacked Out' is a snatch of something mental, ambient with mumbled overlay, while 'The Bell' could be a rare recording of Vincent Price. 'Autonomous Bearding Dissonant' returns to scuffed-upwardly rock daubs jumbled into a cacophonous sludge. Me, I like a nice tune, so I accept no thought what'south going on. 'The Affair Is In Play' fidgets and slithers with some trip the light fantastic intention or other, 'Imagination Thieves' is a moody song scene, 'Veiled Shadows Glaze' adding in some more vocal drama and musical swirls, before they come up close to something conventional to shut with 'Soul Intervention' sounding a fleck like Ruby Hot Chilli Peppers spinning upside down on their heads.

We accept the other two albums they've but released over the next ii nights. To infinity and…somewhere else besides. -Uncle Nemesis

Veil of Thorns - Salon Apocalypse - Mick Mercer Review

Inner-X-Musick

This where acid rock and Industrial-triphop fuse, where you try and make easy sense of it all and you lose. Worryingly, information technology does begin to brand more sense the more you lot listen. The walls close in during 'Still Encarmine Action' as the rhythm clashes with a set of vocals that make you recollect someone has woken Merlin. If that'due south your sort of affair, read on…

Their collective lungs exhale out metal splinters in a confusing 'Sleep, Cut And Run' and I'grand assuming that's none other than Aidan McGoran on guitar, although information technology may not be, only he's on here somewhere, and Pandora wheels abroad similar an acrid prey cutting her prophylactic chord on a space walk. There's a different mood for 'Intellectual Institutional Object' as P. Emerson Williams rambles on like the Godchild of William Burroughs channelling Bob Dylan, offering a prissy bit about 'Devil to a half-Devil dissolve.' Pandora's got back into the space station and seems suitably contrite.

'And The Animal Of The Vision Still Roams In Dream' would appear to be a distantly observed orchestra balanced on an electricity pylon shrouded in fog. 'Sepulchral Reminder (Torment Rose)' brings in a solid beat as our vocal host sounds like a deranged headmaster as the sound falls in on itself, threshing wildly. (Imagine robots falling down very long stairs.) The psychedelic guitar motif that floats on high above 'Nearer To Hell (Ideological Corpses)' gives it all a stronger bear upon. At least we know we're on Earth with a poisoned watery dance thing. 'The Play Is The Thing' appears to be a continuation, the guitar briefly evident before things tick into a slower, oppressive gear so disintegrates into am ambience maelstrom.

'Nocturne' is some other matter entirely, windswept and ghostly, with some all-around bass and fuzzy logic, all art dance friendliness. 'Infinitude' is a stripped downwards, pacey alt-stone avalanche, and 'Seduction' is a bit of a torch matter with Pandora waving the flaming torch a bit nigh your confront and the music wandering into filmic horror.

'Windows Blacked Out' is a snatch of something mental, ambient with mumbled overlay, while 'The Bell' could be a rare recording of Vincent Price. 'Autonomous Anonymous Anomalous' returns to scuffed-up rock daubs jumbled into a cacophonous sludge. Me, I like a nice melody, so I have no thought what'south going on. 'The Thing Is In Play' fidgets and slithers with some dance intention or other, 'Imagination Thieves' is a moody vocal scene, 'Veiled Shadows Glaze' adding in some more than vocal drama and musical swirls, earlier they come shut to something conventional to close with 'Soul Intervention' sounding a fleck like Blood-red Hot Chilli Peppers spinning upside downwards on their heads.

Nosotros have the other two albums they've only released over the next two nights. To infinity and…somewhere else also.

Credits:

released April 27, 2009

P. Emerson Williams - Vocals, Guitars, bass, cello, violin, keyboards

Aidan McGoran - Guitars

James Curcio - Drums

Pandora - Percussion, Vocals, Orchestration

Ruddy Bitch - Drums, Percussion

solissopupose.blogspot.com

Source: http://www.veilofthorns.com/search/label/witch%20house

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