Gruuthaagy's Metatron - Order Of The Outer Darkness: why not before.

As someone who often surfs the net craving for some exciting sounds to lessen the pain caused by the prolonged absence of human contact, I sometimes find myself  overwhelmed by the sheer quantity (not necessarily quality) of interesting (not necessarily good) music that's been put out there.
As of lately, I've been checking out quite a number of pretty extreme works leaning towards the noisy side of spectrum. Gruuthaagy's Metatron - Order Of The Outer Darkness was once again a pleasant discovery in the genre.

From what I can tell based on the somewhat sparse information around, this project has been around for quite some time. It has a pretty good looking official site. It seems to be based in Croatia. Laibach, Neurotech, now this: is Eastern Europe a fertile ground for industrial music? Apparently so.
Given the long it's been active, Gruuthaagy has put out a considerable amount, but I only managed to listen to the previously mentioned Metatron - Order Of The Outer Darkness so far and I've been liking it a lot. Maybe because of the relative obscurity of the project or because of the visual aspects of their work, I was expecting something tending to the chaotic. Instead, what I especially like about these compositions is how well they are thought out and honed. Which to me is quite remarkable considering the employed tools are pretty much the same normally used in this trade: white noise textures, distant and metallic tribal percussions, eerie samples, distortion assaults, everything low and rumbling. Ritually repetitive drumming that seems to be produced by violently hitting metal barrels with crowbars.

Along the same lines, but more about urban decay than esoteric escapism, I've recently very much enjoyed the latest output by JK Flesh. After the recent efforts with Godflesh, not quite short of the nihilistic brutality they're known for, Justin Broadrick has freed himself even more from the traditional song structure and put out a bunch of numbers built around beats and sub-bass lines: massive, distorted, less than human and far too diabolic to be purely mechanical.

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