What substantial essence, the indistinguishable nature of the divine source of being, through which all emanates continues to suffer with every gasping breath. Adrift in a sea swallowing a bellyful of stagnant piss whilst floating far beyond their prior entombment of placental afterbirth, itching with the horror of lust-proctored disease the godhead yet suffers along its slippery, shit-smeared sojourn of torture by the hands of Vrasubatlat and their epicenter of occult terror in Portland, Oregon. One mans multifarious visions spreads pestilence and glorious grime, blackening the skies throughout my homeland and souring the many rivers that dissect its heart, he the R. (Adzalaan, Ash Borer, Dagger Lust, Serum Dreg, Urzeit, Uškumgallu, Utzalu) is not possessed but thee possessor and the infectious tower of ruin alight with the black flame. Birthing abomination in the seclusion of sewage by name of Triumvir Foul, a duo deigned horrific in conjoined dismay found the collaborator conjoined with he Ash Borer batterer M. (Pissblood, Serum Dreg, Urzeit, Uškumgallu) in defiance of belief and in glorification of the septicaemic death of religion, creation, and life itself. Here that defiance furthers not a narrative of rot celebrant but a direct call to action, a herald to the oblivion of death and a gesture profound: Behead the creator and stream erect a golden humiliation upon divine visage.
Sumerian demons, occult rituals, vile meatus and fetishistic violence dot the map of death metal disgust this one shining project (of many) yet he the R. differentiates each work as separate entity. Triumvir Foul is an arcane atmospheric vision of death metal that sees the grime eternal of late 80’s death metal underground and adorns it with a thousand years of cavernous decay. A black metal magus’ ear set upon classicist death and in eternal evolutionary throes, the ‘An Oath of Blood and Fire’ (2014) demo was a gust of old bone-thumping buzzsaw rage that would seep blackened morass and fetid sonic slurry when translated into the debut ‘Triumvir Foul’ (2015). Tradition would suffocate there and the old beatings would produce the savage, brutalist mush of ‘Spiritual Bloodshed’ (2017), a point of impossible sonic tyranny from expectation. There I’d rest unsatisfied as an early adopter of Triumvir Foul and an intensifying fan of otherwise advanced Vrasubatlatian blackened rituals. The noisome evolution of all, besides perhaps Adzalaan (whom hunt a different beast), continues to mystify and here in 2019 the roar of abomination in the age of such things is only fittingly given abrasive qualities as Triumvir Foul returns.
‘Urine of Abomination’ finds musical expression fit to conjure a pit-trapped monstrosity that’d claw and the walls until nails and skin give way to bone. Captivity that’d span centuries of evaporating pools of excremental hell, a festering atmosphere desperate and always lying in wait for plunging victim. Spontaneous blackened death captured in four parts act as hymns to this containment and the ruin upon all existence when said abomination is eventually freed from tomb. Triumvir Foul offer a truly hateful piece of death music as performative as it is sacredly pummeling, ‘Urine of Abomination’ is less a churning blender of their past than it is a celebration of chasm walls, the erosion of mankind, and always delivered with defiant slime-flinging, nihilistic aggression. Harsh blasts of noise and rumbling death attacks still compare reasonably with the murk of The Haunting Presence, the war-like hell of Teitanblood, and this time I would suggest a small hint of Vassafor-esque intensity in the arc of the full-listen.
Will you remember the experience? Yes, especially if you are still bound to the self-titled debut from the band and wanted a slight return to the specificity of their earlier death metal sound. Will you find many riffs to cling onto? No, this comes with less of the jogging post-Autopsy juggernaut style they began with and sticks to obscured forms that erupt as ‘Spiritual Bloodshed’ did, with great force and muscle but with an anti-musical fog persisting. I can recommend this EP primarily when considering the CD version, which includes the full ‘An Oath of Blood and Fire’ demo, but when taken as is I have some reservations as to how well ‘Urine of Abomination’ might age untouched on my shelf beyond an initial stroking of the compelling artwork. Moderately high recommendation, and definitely get the compact disc version if you don’t already have the 2014 demo. For preview I’d suggest “Urine of Abomination II” as my personal favorite set of riffs, though all four tracks are seamless and should be enjoyed in full context.
Swollen, I bathe in thine pools. 3.75/5.0
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