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Author Topic: Gnaw Their Tongues - "Spit at Me..." Pre-Order NOW  (Read 2646 times)
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« on: April 30, 2011, 09:01:56 PM »

Coming very soon on Ominous Silence:

"Spit at Me and Wreak Havoc on My Flesh" by Gnaw Their Tongues

01. A Burned Offering
02. Spit At Me and Wreak Havoc On My Flesh
03. Stabmovement and Skinning Essay
04. ...Gnaw Their Tongues in Pain
05. Healing Open Wounds With Salt
06. Seven Heads and Ten Horns
07. Death, Suffering and Death

Ominous Silence very pleased to announce the re-issue of "Spit at Me and Wreak Havoc on My Flesh" by Gnaw Their Tongues. Originally self-relased back in 2006, this edition comes completely re-mastered with re-vamped artwork by Mories / Mastering Graphics. "Spit at Me and Wreak Havoc on My Flesh" is a wonderful mix of noise-drenched avantgarde black metal, slow, harrowing droning doom and trance inducing chaos. The material is riddled with samples from the bible, an explanation of an autopsy and drug confessions from ex-prostitutes. Dark and filthy music that deals with even darker subjects. CD format.
« Last Edit: June 13, 2011, 08:38:39 PM by os. » Logged
« Reply #1 on: June 13, 2011, 08:38:47 PM »

"Spit at Me and Wreak Havoc on My Flesh" by Gnaw Their Tongues is scheduled to be released on the 10th of July.
I am accepting pre-orders from now until the 9th of July. Anyone who pre-orders will be first in line to get a GTT T-shirt
that will be coming out later on this year.

You can place your order via the distro section on the OS website.
Contact me if you are interested in getting some copies on wholesale.

In other news... I have set up a Facebook account for Ominous Silence. Expect more frequent updates on it.

« Reply #2 on: July 18, 2011, 03:03:26 PM »

The packaging has arrived, Pre-orders will be shipped either today or tomorrow morning.

« Reply #3 on: August 25, 2011, 01:37:40 AM »

Great GTT review by David for Foxy Digitalis.

A blast from the past of GTT’s back catalog.  Spit at Me and Wreak Havoc on My Flesh is Mories’ first release and has been reissued by Ominous Silence.  I feel very privileged to be able to hear where it all began, especially since this one was originally self-released almost more than five years ago in a limited number.  I got started on GTT kind of late in the game.  My first exposure was the BDSM-themed All the Dread Magnificence of Perversity that had an Ed Gein edge to it, and then later the more operatic (and grown-up?) work, L’arrivée De La Terne Mort Triomphante.  But to be honest, Spit at Me has easily become my favorite.  This one caught me from the start.  It is a tremendous work that was obviously well thought through, was tellingly fresh and exciting to the artist, and had such immense promise as a new musical project.

I hear all the terror and trepidation that we have come to know and love from GTT brooding here on Spit at Me.  The whole theme revolves around the old Hebrew priestly sacrifices.  In almost every track an excerpt is read concerning the procedure of performing the offering.  After doing some research, I think that the passages that are read find their source in the book of Leviticus.  Here’s an example from chapter 4:

“3 If the anointed priest sins, bringing guilt on the people, he must bring to the LORD a young bull without defect as a sin offering for the sin he has committed. 4 He is to present the bull at the entrance to the tent of meeting before the LORD. He is to lay his hand on its head and slaughter it there before the LORD. 5 Then the anointed priest shall take some of the bull’s blood and carry it into the tent of meeting. 6 He is to dip his finger into the blood and sprinkle some of it seven times before the LORD, in front of the curtain of the sanctuary. 7 The priest shall then put some of the blood on the horns of the altar of fragrant incense that is before the LORD in the tent of meeting. The rest of the bull’s blood he shall pour out at the base of the altar of burnt offering at the entrance to the tent of meeting. 8 He shall remove all the fat from the bull of the sin offering—all the fat that is connected to the internal organs, 9 both kidneys with the fat on them near the loins, and the long lobe of the liver, which he will remove with the kidneys— 10 just as the fat is removed from the ox sacrificed as a fellowship offering. Then the priest shall burn them on the altar of burnt offering. 11 But the hide of the bull and all its flesh, as well as the head and legs, the internal organs and the intestines— 12 that is, all the rest of the bull—he must take outside the camp to a place ceremonially clean, where the ashes are thrown, and burn it there in a wood fire on the ash heap.”

Pretty crazy stuff.  Knowing what I know now about GTT, I wonder if the priestly sacrifices are a metaphor for human suffering.  The first track has appallingly slimy drips that sound like a sewage leak, but I think it might be to audibly illustrate blood sacrifice as the life dripping from the carcass down the altar.  Throughout the following tracks there are various other excerpts that are read.  In the second track, there’s a medicinal how-to read about making Y-incisions on a cadaver and the whole procedure involved.  Various other Biblical passages on the apocalyptic side are read, like Genesis 6:11: “Now the earth was corrupt in God’s sight and was full of violence” and Revelation 16:10-11: “The fifth angel poured out his bowl on the throne of the beast, and its kingdom was plunged into darkness. People gnawed their tongues in agony and cursed the God of heaven because of their pains and their sores, but they refused to repent of what they had done.”  Ah, we see where Mories got his moniker.  On the last track we even hear part of an essay on theology read to us, like someone was presenting a paper at a conference.

What I love about this album the most though is what I love about GTT in general, yet it’s at the top of its form here.  I love the epic feel of everything.  There’s such a grand plunge taken with every pounding track that’s so animated with noise and effects and the violent guitar blitzes with the breathers in between.  It is so epic when Mories calms down the track from an insane ferocity to a lull that focuses in a still moment on something else macabre like one of the above excerpts.  It is also where he gets in more of his sophisticated orchestral moments.  You get a break only to set you up for another attack.  Track five, the shortest track, is all about black metal though.  He takes a sabbatical from the unique song structures and experimental means to just blast your face off with an aggressive ripper.  Track six has a very cool ritualistic beat that places you in the context of temple sacrifice like Indiana Jones and The Temple of Doom or something.  It’s pretty killer that way.

There’s just so much more to say, but I don’t think the Web could contain all my thoughts concerning this album.  It’s just one of my favorite releases this year by far.  It’s going to take a lot to top this.  I listened to it everyday, twice a day, for over a week, because I couldn’t get enough.  Ominous Silence did an amazing job of getting this one ready for re-release.  It’s got the same frighteningly clean and sterile art as the first edition of what I think is some kind of cadaver storage unit on the front and an open casket on the back.  It’s improved with complementary Times New Roman fonts (or something like it) for the lettering and not the distressed font chosen before.  It gives a dreadful reality and normalcy to the whole subject matter.  This is all printed on thick cardboard sleeve, which then contains another sleeve which is home to the disc.  The other sleeve has some cool vintage painting of cherubs with instruments whose heads are replaced with skulls.  All in all, this is absolutely essential to any GTT fan and a great introduction for the uninitiated.  Mories’ best ever.
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