KHOST’s 2015 album, ‘Corrosive Shroud’ scored a 9/10 ere at W&H from this reviewer, and at the time, I noted its punishing heaviness. It’s also no secret that I’m an immense fan of Godflesh, who re also masters of heavy, and I’d go so far as to confer eity status upon Justin Broadrick. So this was always likely to be a winner.
The EP’s four tracks are reworkings of tracks from the aforementioned ‘Corrosive Shroud’ and aren’t so much deconstructed and reconstructed as mangled to fuck with the distinctive pounding metallic drum machine noise and snarling bass of Godflesh devouring and regurgitating the source material. Chewed up, spat out, stomped and spewed over, the output is seriously punishing.
I’ve spent over 15 years laughing at fans of bands like Slipknot who think they like heavy music, certain that a single track by Godflesh or Swans would send them crying to their mummies. I’ wager the same is true of this release. The slow grind if ‘A Shadow on the Wound’ is dominated by eerie, sculpted sound hanging like a toxic fog over grating bass and percussion that’s as heavy s it is slow as t trudges along at a crawling BPM. The sinister vocals, processed to devastation only heighten the claustrophobic intensity, while ‘Revelations Vultures Jackals Wolves’ is reduced to an overloading white noise distortion reminiscent of Whitehouse circa ‘Cruise’.
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While the first three track are direct reworkings, at least in title, the fourth and final track, ‘Deathsset’ is some kind of composite (or at least appears to be): an assemblage of noise segments lifted from the masters and thrown into a cement mixer, with the kind of cranium-pounding effects one may rightly expect.
KHOST Online
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