Dear fans of noise and experimental auditory abrasiveness, we go now to Australia for a mysterious artist called Worgor.
From Bandcamp: “Worgor is a one-man project from Melbourne, Australia that summons inspiration from the occult, extreme metal, dark ambient and industrial.”
Invidious is one of three releases from Worgor in 2018. Whereas its predecessor, Worldcursed has more of an experimental metal vibe and successor, Collapsing Ritual is more “death industrial,” Invidious possesses a showcase in Worgor’s skills involving noise experimentation.
My takeaway from this release is that the artist has a definite command of dynamics; not necessarily in terms of layering as in a harsh noise wall though. More so, Worgor seems to be mindful of dimension and direction. Take track 1, “Abyss” for example. The listener is brought into an environment where a constant sonic pasture of noise lays on the foreground while ambient, often noisy passages fly by the listener to the left and right at moderate speeds. Their thickness suggests a fondness for old-school Moog analog soft synths.
“Flood” puts the listener right in front of a noise plane much like an observer looking out a filthy window at an odd whimsical painting. We are treated in different dimensions to sporadic kick drum strikes and noise planes that sound like low-flying aircraft. “Permafrost” is a favorite track from yours truly. The abrasiveness nails the listener right in the face. But it’s a harsh noise plane that’s done skillfully and mindfully (ala Demonologists) keeping in mind the dynamics of abrasiveness vs. restraint and central vs. sideline vantage points.
Worgor is definitely an artist who cannot be understood with the consumption of a single release. You must dive into the discography to get a grasp of the whole. But as for Invidious, this would definitely appeal to open-minded fans of noise and black ambient.
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