1. Ask for the Ancient Path (47:17) 2. Blood Atonement (12:12)
Жуткая штука, зацепившая даже меня, не особо большого любителя харш-нойза. Эту работу ни в коем случае нельзя назвать легкой, доступной или щадящей, это именно харш-нойз во всей своей эмм... красе, но здесь его задача не вынести слушателю мозг, а заставить его работать. Если следовать за музыкой, можно легко представить себя в чуждой стихии, среди грохочущих волн и завывающего ветра, окруженным ревущими и явно недружелюбными тварями. Чтобы пройти предлагаемый альбомом путь до конца, нужно приложить немалые усилия, но оно того стоит.
'When it comes to harsh noise, it seems that the term "harsh" goes more so to alarm the listener than it attempts to classify the 'type' of noise, and in the case of the new long-player from Andy O’Sullivan’s GOAT, it might be an understatement. Given, O’Sullivan’s craft involves making some of the most intense noise sounds that one might label as akin to more accessible artists such as Wolf Eyes, Carlos Giffoni, Bastard Noise and some of Merzbow’s more unlistenable material, but with Oceanic Thrones, he takes the term further solely with the length of the first track, “Ask For The Ancient Path.” Bluntly put, O’Sullivan outdoes himself and his contemporaries with this opening blitzkrieg of a track—a full on audio mind-fuck of crashing waves of white noise and static that clocks in around 50 minutes. It is in this element where the ‘either-you-get-it-or-you-don’t attitude about noise artists comes heavily into balance, as this would definitely work to drive someone unbeknownst to such sound experimentation absolutely insane. 16 minutes into the work, it remains pretty uniform, with the exception being a couple of split seconds of empty sound that go very well unnoticed, before the track juts into a wild blend of multiple oscillations that work their way into static-based pulses almost effortlessly, despite the amount of effort that is being pummeled in. at 25 minutes in, the track relies more on feedback scrapes and anti-texture as it transforms yet again into a truly torturous mess, of which by this point has either alienated it’s listener or just peaked their intrigue. This is where the bombast and/or mental capacity of GOAT sets in, that as the track approaches the half-hour mark, it’s difficult to tell where this is going or if it’s going anywhere; but it is far from over. Credit is due in immense proportion to even keep a work like this going for the length that it has, not yet factoring in that there is yet, still another 17 minutes or so before this work comes fizzling to a close. From being totally immersed in the sound for such length, ones ears probably feel the sensory application that a tooth is subject to during drilling and the vacuum that clears excess moisture away from said tooth during a cavity operation, and in all honesty, “Ask for the Ancient Path” is truly a work of madness. The other work here, “Blood Atonement,” fades right in from the finishing moments of “…Ancient Path,” and follows suit in a whirling rage of distortion. Lots of low-end static rumbling with some high end frequency bending take this track in a different direction from it’s predecessor that, for what it’s worth, offers listeners a different side to O’Sullivan’s dark craft, albeit briefly. All in all, this is not for the weak-willed or faint at heart, and just because one might own a couple of Dilloway’s solo recordings or things of the like, GOAT offers listeners no compromise. This is a serious recording that, I’d be willing to bet, many people wouldn’t be able to get all the way through. Regardless, for those up for an audio “challenge,” Oceanic Thrones may just be it. Be brave and good luck.'