The caustic ululations from down under can only mean that Plasmodium has released a new album.
Australian chaos cohorts Plasmodium ripped the lid off of reason in 2016 with their first album, Entheognosis. The menace that began with those four songs continues on Towers Of Silence, another loose approximation to coherence.
There are five tracks on the new album. The first two are short, noisy explosions. I am not sure if they are meant to terrify the listener, but they could have that effect. The pace is furious and the direction of the music is more of a flurry than a path.
“Pseudocidal” is a free-form expression that lays an ambient bed and lets the drums run wild. Vocalizations are more subdued than they were in the openers and even become discernable after a few minutes. The percussion seems to be on about something and you find that reassuring in the otherwise worrisome surroundings.
The last two songs on the album a big ones, “Translucinophobia” and “Vertexginous,” having a running time over thirty minutes between them. The former is like an extended Alexandrian campaign in an unknown land and the latter is more like a journey through an extended purgatorial menace that ends badly. This is metal music, heavy music, dark music, but there is nothing to reliably compare it to because of the general lack of core elements. The thought of what Plasmodium might create next is a churning maelstrom of bewildering possibilities.
I have listened to about fifty releases from Transcending Obscurity over the last many months and this one is by far the strangest. If you are up for the challenge, Towers Of Silence is out now. There is no telling what door it might open for you.