Using drone, ambient noise, doom riffs and drumming, cello, and mesmerizing vocals, the duo of Reggie Townley and Sarah Townley create a masterpiece of rich soundscapes that draw me into another world.
Plasmodium attacks in a fear-inducing swarm of chaotic terror.
Imagine coming to consciousness somewhere in a dark, dank, crumbling tunnel. There are hundreds of insects, spiders, centipedes, and more crawling all over you. That’s the impression I get from the swarming riffs.
A cohesive split where both bands hook you and won’t let go, this is a release worthy of thirty plus minutes of your time, over and over again.
I’m made to feel quite uneasy at many points on the album, hackles raised. One can hope there is more to come from this young band. In the meantime, strap in – it’s quite a ride!
Though the album title translates into “empty”, the music is full of power and presence. Perhaps it is how the ultimate Emptiness expels itself.
[The album] cuts sharply through the uninspired masses of extreme metal, forward thinking, but calling forth the masters of the past. Raise your horns and bang your head.
The track starts out with belligerence, as Void’s bellows hit the listener square in the chest, and then devolves and evolves into a racing, grinding, destructive cacophony of purpose.
What I really love about the album are the nasty, dissonant riffs thrown into the mix throughout. That’s what really gets it all cooking for me.
“Raw black metal is not for everyone, of course, but its strength lies in its ambiguity.”