www.heathenharvest.com

Some years ago an inventive and plenty of free time American writer called Patricia Cornwell posthumously accused famous British painter Walter Sickert as being none less than Jack the Ripper, the famous ritual murderer from old London. Whether it was true or false the thing is art can be a method of expression for the psychopath or the disturbed. Music as an artistic expression and modern conception for free hand creation is a perfect mechanism to give all those beautiful disturbed demons from this planet the way and the place to vomit their dystopias with pleasure and allow us to live them and speculate about their fantasies, or is it perpetrated acts?
Mories comes again with its vile incarnation known as Gnaw Their Tongues to show the world how the misanthrope or the disturbed citizen can deploy such amount of disgust, irredeemable hate and fury as a reflection from the world and its beings contained. Justified or not in his claim, he certainly achieves his task as a messenger from chaos by bringing this gospel devoted to madness, insanity and death as some sort of opus nigrum where “All the dread magnificence from perversity” is its unholy black word. The work is explosive and ruthless from entrance but the link with Black metal present on previous albums is stumped across the pandemonium of noisy orchestral blast and intimidating bass throb. The drum is absent and only the bombast from hellish winds such as almighty trumpet and trombones and tubas discordantly creates this bleak and rutilant atmosphere of nerve burning tension. There is no discernable rhythm, just pure atmospheric chaos with tons of bombast but then all of sudden a primitive and sludgy drum set appears as a futile attempt to bring some order in this reign of horror.

Chambers of torture and prison walls filled with toy like bodies adorning them are the preferred landscapes for this journey and amidst the orchestral screeching from ominous and dismal violins and cellos the terrible screams from hopeless victims infiltrate as an additional note to complement the orchestral instruments. Everything is so fuzzy and deprived from light in this record, the vocals comes as some uncanny growls that fuse over the monumental structure of noise conformed by the amount of instrument blast bass lines, orchestral elements and countless other undetermined effects. When drums take in the pace its the one from funeral doom but completely assaulted by the virulence of the bombastic atmosphere surrounding it. Sludgy and gut vibrant the bass lines are so utterly disturbed and augmented that they sound as an entire different instrument, sometimes even as a horn, this is a distinctive characteristic from the whole album and a point of divergence. The atmosphere is slow and isolated and only the bombast from the orchestral influx gives to it this exasperating amplification that finally converges in a whole sordid mass of noise where everything is one. With some attention the work seems like a progression, from total chaos to some futile order given by the rhythm addition and being “Verbrannt und verflucht” the beginning from its evolution. While this track still remains disjointed by arrhythmia and rhythm is merely a ghost on “Broken fingers point upwards in vain” the dynamic of the percussion takes a concise routine that anchors its pace on Doom Metal. The bass acts as a mesmerizing throb with its virulent presence but still the sense of chaos marks the atmosphere regulated by the orchestral effects and a sampler from a Flaubert poem. The growls sounds as inhuman murmurs praying litanies and the sound of a crying saxophone implodes in.

Everything is engulfed by this massive compendium of disorder, yet everything remains mysteriously audible, you can discern the elements and a undetermined order beneath the wall of orchestral noise. On “The stench of dead horses on my breath and the vile of existence in my hands” a fierce Death Industrial atmosphere kicks in and Mories delights us with the power from its violent experiment, the entire atmosphere now becomes a deadly magnetism guided by distortion, ritual clangour blast and screeching orchestrals accompanied by the Black metal-esque growls from Mories this time more defined and less isolated. The music takes a strange form now, solid yet vile and filthy. And on “L’ange qui annonce la fin du temps” the Doom influence kicks again ignited by some fixed piano that sounds macabre and marks the tempo and then a subdued drum set behind the curtain of orchestral decay. Finally it’s on “Gazing at me through tears of urine” where bass and rhythm joyously reunite in the more solid form from the album, but the atmosphere is maintained as mouth receiving such guests. A defaced melody is present as a phantasmagoric apparition behind the horror structure in “Rife with deep teeth marks” and gives us a glimpse of melancholy and decay that will be smashed by the cruelty resumed in the ultra obscure track “All the dread magnificence from perversity”, a monument to death and insanity and the peak of the album. The final track lets the chaos to take in again and engulf everything behind, somber atmospherics and noisy elements converge to give the farewell to the listener.
 
Gnaw their Tongues latest album is an horror opus, from the very beginning to the very end the listener will be dragged through the corridors of dementia where atmosphere triumphs over melody and the pomposity of darkness is emancipated by a hellish orchestra, this is Black metal going deeply into Dark ambience and noise and while it does it slowly unveils the profile of a disturbed personality, a deranged mind or a psychopath doing the soundtrack for your morbid entertainment.

interviews in:

Zero Tolreance 31: http://www.ztmag.com/mainframe.htm
Decibel: http://decibelmagazine.com/Content.aspx?ncid=339236
Terrorizer: http://www.terrorizer.com/content/band-day-gnaw-their-tongues

Terrorizer review of 'All the dread....":

GNAW THEIR TONGUES
‘All The Dread Magnificence Of Perversity’
BURNING WORLD/CRUCIAL BLAST
Gnaw Their Tongues’ latest full-length, ‘All The Dread…’, presents nine new odes to darkness, depravity and pain. Once again, GTT composer extraordinaire, Mories, delivers a brilliantly sadistic concerto[$Italics] of painstakingly rendered, heavily orchestrated and densely multi-layered “horrorphonics”. ‘All The Dread…’ features more prominent, virtually suffocating, bass bludgeoning than previous GTT releases and the dissonant audio torture Mories crafts is almost too realistic and tangible for enjoyment. The continuously clashing instruments, sound bites, and noise approaches moments of terribly terrific overstimulation when intense pain and utter bliss converge. Terror reigns supreme as layers of menacing keyboards top sustained tape hiss; chilling soundbites fight with multiple frequencies that churn, warble, and spasmodically drop and spike without warning; tensile strings flay skin; hideous, majestic brass swells in hellish fanfare; and disembodied voices shriek, vomiting forth taunts and abuse, and that’s only the beginning to this nightmare. This is the sound of Pandora opening her mythical box loosing evil, ills and malignancy upon the unsuspecting world.
[9] JOHN MINCEMOYER

http://www.mortemzine.net/show.php?id=1844 English version
http://www.mortemzine.net/show.php?id=1843 Czech version

teethofthedivine.com


metalrunsinmyveins.blogspot.com
“Oh, no, not again”, was my reaction to opening a package from Crucial Blast and finding inside the latest full-length from Gnaw Their Tongues in digipack form. For those not in the know, Gnaw Their Tongues is perhaps the most disgusting, disturbing, and just all out grossest exercise in deranged blackened noise that I’ve ever heard. A one man project, courtesy of Mories (also of the more traditional, if still disturbing, black metal project De Magia Veterum), from The Netherlands, “All The Dread Magnificence Of Perversity” continues GTT’s fascination with perverse bondage imagery overlaying a cacophony of horror-inducing noise.

As far as I can tell, not much has changed since “An Epiphanic Vomiting Of Blood”, GTT’s last full-length from 2007. The same kaleidoscopic maelstrom of screams, rasps, howls of torture, the odd cascade of bass (deeply heavy this time around), synthesizer, percussion with little to no discernible structure, and wall of deep, almost subliminal harmonic noise continues for an incredibly mind numbing length of just over an hour on this release (there are three additional “bonus tracks” for those of you insane enough to track down the vinyl release). Adding further to the unease and disgust is the truly disturbing, sadistic bondage imagery that will cause one to doubt the artist’s sense of moral compass.

The end result of all of this is surprisingly listenable (well, at least once), and is obviously a sort of “I dare you to listen to this, and appreciate it” sort of challenge. The daring is self-explanatory for those of you seeking a challenging listening experience, and the appreciation comes in the fact that a lot of thought and effort went into constructing “All The Dread Magnificence Of Perversity”. Something like this could easily be simply unlistenable and dismissed out of hand, yet, you find yourself compelled to listen. The album is probably the closest one could get to laying down an audio soundtrack to the most disturbing depths of the human soul.

I can’t say that I recommend “All The Dread Magnificence Of Perversity” by GTT, nor can I say that I’ll ever come back to the album. But, if you’re looking for the most abhorrent, yet still successful, album ever written, “All The Dread Magnificence Of Perversity” certainly is a candidate. Decide for yourself.

metalasfuck.net
f you think you know what experimental noise/art metal is, then you haven't heard Gnaw Their Tongues' latest release. This is an intense experience: one you absolutely have to have before you die

Gnaw Their Tongues' All The Dread Magnificence of Perversity is not so much an album you'd listen to as experience. It's a whole-of-mind/whole-of-brain type experience; listening to this you can't really do anything else. It takes up the entirety of your brain. There is so much going on, in so many layers; it's an emotional and psychological journey through utter derangement, without being the untamed, discomposed noise of something like Dysrhythmia's Psychic Maps.
This album is entirely different territory to anything like something Dysrhythmia could dream up. It is cinematic, deep, multilayered; and I suspect that a lot has gone into its construction. There are symphonic elements that interleave with unintelligible, harsh vocals; there are sound-effects, super-down-tuned guitar and bass; slow percussion; and the sort of sound I am going to label 'industrial' – but industrial in the sense of basic goings-on of a distant factory than anything like 'industrial' genre music or industrial metal.
Being the sort of person who's always had a penchant for the music created by factories, building sites, and distant air conditioners on a hot, dark night, this kind of thing hit the spot with me. But combine it with the unsettling soundscapes of horror and you have something not just interesting, but particularly special.
I honestly didn't think I'd get into this release. Many experimental albums leave me cold, but this... this is something else altogether.
The album begins with the track My orifices await ravaging. There is so much going on here, all the time. There is screaming, industrial metal, horror-film-soundtrack orchestration. Imagine, if you will, that animated Disney film, The Master's Apprentice from many moons ago; but instead of magic happening, absolute horrors lurk in the depths. That's about as clearly as I can describe it.
The horrific screaming of a misused and potentially tortured woman towards the end of the third track, Broken fingers point upwards in vain sets the track off to perfection, and provides the intensity of it with some sort of bizarre closure.
In track four, The Stench of dead horses on my breath and the vile of existence in my hands, the samples of Flaubert layered in make it nothing short of amazing.
The album goes on in all its terrifying, disturbing intensity until you get to the third-last track Rife with deep teeth marks, where you are lulled into a false sense of relief by coming into something mellow.
It is a totally false sense of relief because during the second last track, All the dread magnificence of perversity, the screaming woman is back: this time desperate and, worse, hoarse. It gives you the feeling that something fucking awful has been going on all this time and you've been too mesmerised to notice.
The final track – in some ways you hear it going 'thank fuck it's nearly over' – is The gnostic ritual of semen as embodiment of wounds teared in the soul. It's weirdly drudgy and mesmerising, and it was well placed as the final frontier.
Gnaw Their Tongues, I have discovered, are aptly named – and hearing this release you'll discover why. They go out and beyond the fucked-up-ness of doomy experimental noise and create something entirely new.
This album is grim as fuck, and if it didn't have a sense of purpose it would border on Dada. And the best thing about it is that it forces you to construct your own picture, your own imaginings, out of your own experience. That is what art is all about.
You have to hear this album. No arguments. It's absolutely an experience you must have before you die. Even now, hours later, this experience is haunting me; immediately afterwards I could barely speak. It's pretty rare that an album can do that to you.
Gnaw Their Tongues' All the Dread Magnificence of Perversity is out now on Burning World/Crucial Blast.

The debut from 2006: "Spit at me and wreak havoc on my flesh" which is long sold out, is now available as PAY WHAT YOU WANT download. The minimum is one dollar cent! All you need is a creditcard or paypal. Includes high-res printable sleeve + 320 kbps mp3's. A little bit of Gnaw history! Click the button below.

1.A Burned Offering 08:20
2.Spit At Me and Wreak Havoc On My Flesh 05:52
3.Stabmovement and Skinning Essay 07:08
4....Gnaw Their Tongues in Pain 05:22
5.Healing Open Wounds With Salt 03:00
6.Seven Heads and Ten Horns 08:40
7.Death, Suffering and Death 11:40
Total playing time 50:02



Also the classic second full lenght 'Reeking, Pained and Shuddering' which was released in 2007 (and is now sold out) is now available as PAY WHAT YOU WANT download. Includes highres original sleeve + alternative sleeve + 320 kbps mp3's Click the button below

1.Blood Spills Out of Everything I Touch 08:36
2.Utter Futility of Creation 05:28
3.Nihilism; Tied Up and Burning 06:32
4.The Evening Wolves 04:52
5.Destroying is Creating 07:28
6.Transition 10:24
Total playing time 43:30

sonicfrontiers.net
There is a certain beauty to be found in ugliness and filth.  The mesmerizing quality behind something so pure in its horrific/pornographic nature that you can’t look away from it; crime scene photos, a particularly depraved S&M video, etc.  Much in the way that such displays of the dark underbelly of human nature can be so visually entrancing, so too is the music of the Netherlands’ Gnaw Their Tongues an exercise in hypnotic audial obscenity.
Coming off like an orchestra attempting to compose a snuff film soundtrack while being tortured by members of Godflesh and Abruptum, Gnaw Their Tongues combines elements of industrial, metal, noise and ambient music into a blood-soaked orgy of utter sonic terror.  To say that the album is a challenging listen is probably the understatement of the year, but those with an open mind and/or a fetish for sonic punishment will be rewarded with a seriously disturbing descent into musical licentiousness.  Although not as abrasive as say, Prurient, Gnaw Their Tongues is nonetheless an all-out assault on the ears, an abstraction of musical genres that are familiar to most of us rendered terrifyingly alien via a lack of anything resembling linear structure.

Gnaw Their Tongues is a one-man affair, and delving into the album with that in mind lends itself to the atmospheres within.  The feeling of slogging through the darkest, blood, vomit and bodily fluid-strewn gutters of one depraved, barely human mind is present throughout songs such as “My Orifices Await Ravaging” and “Gazing at Me Through Tears of Urine”.  Glacial drones collide with rumbling distorted bass while drums pound away at random in the background and some deranged lunatic screams his guts out while either committing acts of unspeakable torture or being tortured himself.  In that respect, All the Dread Magnificence of Perversity could be viewed as either the last anguished cries for help of a damned soul or the playing out of a sociopathic revenge fantasy, both filtered through the lens of a fetish for bondage and sadism at their most extreme.  All the things that make the average, God-fearing human being uncomfortable are on display, crowned in wreaths of barbwire and writhing naked in a pool of blood, semen and feces.
Ultimately, All the Dread Magnificence of Perversity is the soundtrack to a sadomasochistic mental apocalypse with absolutely no hope for salvation.  It is also one of the year’s finest examples of extreme experimental music and proof that sounds can be just as psychologically unnerving as any form of visual media.  While there are plenty of death and black metal bands out there recycling the same tired Slayer riffs for the five millionth time and singing about violence and misogyny, Gnaw Their Tongues makes them all sound like the Jonas Brothers.

www.musicianforums.com
Gnaw Their Tongues is the Dutch black metal solo project of a multi-instrumentalist going by the name Mories. Since the project's inception in 2005 he has released four albums, several EPs and splits and appeared on a number of compilations. But this is no poor quality bedroom nonsense. GTT's sound is characterized by pummeling ugly distorted bass, spastic evil operatic synths, smashing mechanical percussion (not drum machine), and sections of noisy ambience and bizarre samples focusing on murder, torture and occult rituals. Its distinct sound makes neat categorization difficult, so it is lumped in with black metal for its screeching vocals, distortion-laden riffs and a few songs that fit in with a more typical modern black metal sound (tremolo picking, simple repetitive time signatures, etc). "All the Dread Magnificence of Perversity" is the latest GTT offering, a lengthy double LP that is perhaps Mories' most fruitful endeavor and one of the most interesting and worthwhile albums of 2009. For those who are tired of the cavalcade of piss poor and mediocre black metal groups springing up and the frequent lameness and pretension of attempts at "experimental black metal" and industrial/black metal hybrids, feast your ears on this audio monstrosity.

The sound here is sunk in a bottomless pit of murkiness, creating a pulse of hideous sub end noise. You won't find any electric guitar here, but rather some super heavy fuzzed out distorted bass. The riffs are usually slow, churning and sludgy, with a harsh, dissonant and noisy tone, letting dull yet grating feedback ring out in between thick bludgeonings. Backing up the putrescent gut-churning low end rhythm are pounding primitive drums. They normally keep to smashing violently on the cymbals and toms, slowly driving these mammoth dirges. There is a cold, clanking precision about the music at times which bears a resemblance to the early work of Swans; bass-driven, simplistic head-smashing that falls under the umbrella of "industrial" (not to be confused with foofy computerized beats and whiny goth fags). We also get some downright sludgy slides and other Eyehategod/Grief-like sub-end plodding, minus the Southern tinges and drug-infused aesthetic. Further key features of GTT include strange operatic synths that spastically chime in, piercing with high end sounds and adding a sense of panic on top of the disgusting vomitous rhythm. There are also sections of droning distortion and feedback, sometimes with piano or other melodic aspects worked in, or sometimes just noisily churning along. The vocals are high piercing screams (the type that are often dubbed "torture screams" by black metal fans) and ugly, horrifying raspy bellows that fit the music's torturous oppressive sound. Samples and spoken parts are found here and there (although they aren't featured as heavily here as on earlier releases). They are typically very dark and ominous and focus on violence, death, ritual sacrifice and other such topics. Behind eerie distortion and feedback or the rabid onslaught of the riffs the samples are quite effective at creating an atmosphere of unease. In general GTT's composition is strong, and despite the music's slow, drawn out, violent and unkempt nature it remains interesting and effective though the album's 70 minute running time.

Gnaw Their Tongues is a unique project to say the least. Among all the riffraff and hubbub of modern black metal it is difficult to escape mediocrity and worse yet utter crap. Bands nowadays trying to capture old sounds tend to bastardize them with their ineptitude, and bands trying to be unique tend to resort to gimmicks and annoying attempts at experimentation, and ultimately produce unimpressive, pretentious annoying music that's suited for hipster douchebags and ignorant kids. "Industrial black metal" is a particularly infuriating modern subgenre, being unlistenable 9/10ths of the time. It's refreshing to see that someone could produce something so original, ugly and violent without hitting the pitfalls of the current black metal scene. For this reason Gnaw Their Tongues is an important figure in modern black metal and will likely continue to produce the utmost in horrific filth. Fans of the unhinged filth of Abruptum or the improvisational black noise of Stalaggh should likely enjoy this insanity. Fans of all forms of sludgy plodding, be it the early heavy forms of "industrial" such as Swans or Fall of Because, or the sludge doom of the 90s may appreciate the super heavy distorted bass and pounding drums found here. GTT also bears some resemblance to the American noise rock group White Mice (both using mammoth sludgy distorted bass, pounding simplistic drums and high pitched torturous screams), although the aesthetic and themes of these groups are markedly different. Anyhow, this stuff is not for fans of polished, melodic, "atmospheric" music and the like. It's for those who want the ugliest most violent stuff available. Check it out.


http://heavymetal.about.com
It’s been quite a while since a record honestly and truly scared me to death. The Dread Magnificence Of Perversity, fourth full length effort from the Dutch noise terrorist act known as Gnaw Their Tongues has done exactly that…which is no small feat.
This record is a difficult one, that’s for sure. On one hand, All The Dread Magnificence Of Perversity benefits from a high replay value, which is rare for something this aesthetically violent and loathsome. It’s almost as if Mories, the sole visionary behind Gnaw Their Tongues, is daring the listener to return to their nightmares over and over again, facing their fears and discovering new, fetid corridors within this sonic sewer.
Then again, I can’t help but wonder what if, as I listen to this record. What if Mories were to actually lay down some “traditional” musical base behind all of the caterwauling vocals and insidious soundscapes. Sure, there are bass drones and percussive elements to be found, but one can only wonder what Gnaw Their Tongues might sound like if Mories were to combine his expert and ace noise analysis with an even thicker-sounding metal sound.
Perhaps I’m wrong, however; perhaps things are best laid exactly where they are, for Gnaw Their Tongues has clearly found a niche, and it’s certainly working its devilish and unholy magic on yours truly. Prepare for the fright of your life with this one, people. This album is the real deal; a place where death and depravity walk hand in hand, leading you to the darkest place you will ever see.

http://www.imposemagazine.com
If the name or title of the album didn’t give it away, then song titles like “The Gnostic Consumption of Semen As Embodiment of Wounds Teared In The Soul” should probably be enough proof that this band from the Netherlands will probably kill you. I might go as far as to say that these are the best song titles I’ve heard of since Carcass put out Symphonies of Sickness way back when (”Cadaveric Incubator of Endoparasites”, anyone?).
Oh, and the music is something akin to Godflesh as a Disintegration Loop. While to the casual listener, this might come off as the soundtrack to your worst nightmare, it is actually a brilliant, minimalist, gorecore sympathy.

www.aquariusrecords.org
We're running out of superlatives, not to mention overly poetic descriptions of filth and blackness and depravity, to describe this one man cinematic black doom noise outfit, but with every record, Mories, the man behind the beast, offers still more glimpses into what lurks below, or within, the sound an ever evolving cloud of black energy, rendered audible in shades of pummeling drum plod, of downtuned melting riffs, of howled and shrieked vocalizations, of Bernard Hermann like strings, all stretched and blurred and smeared and tangled into a veritable symphony of black bleak heaviness.
It's difficult to classify, as every song tends to slip seamlessly from Wolf Eyes like industrial soundscapery, to Godflesh like metal machine crunch, to lurching Abruptum like black ritual, to almost classic sounding black metal buzz, to haunting cinematic dark ambience, each of those elements fully realized, but then hurled into a black sonic vortex, where along with all the various other sounds and shapes and colors it gets mangled and tangles and spewed out on the other side as some almost living thing, a music that is at once threatening and caustic, harrowing and hateful, but also weirdly melodic and almost classical sounding, a definite case of black(ened) beauty.
For those new to the filth encrusted soundworld that is Gnaw Their Tongues, a brief survey of song titles: "My Orifices Await Ravaging", "The Stench Of Dead Horses On My Breath And The Vile Of Existence In My Hands", "The Gnostic Ritual Consumption Of Semen As Embodiment Of Wounds Teared In The Soul", the album title: All The Dread Magnificence Of Perversity, the crown of thorns / blood splattered / bondage cover art, should all give hints as to what sort of sinister sound lurks inside, but again, all of that could point to something much more puerile and simplistic, the sound of Gnaw Their Tongues is something altogether more refined, if a word like that could be applied to something this hellish, but it does sound refined, and composed, epic and majestic, for every bit of sluggish heaviness, there's another part that is hauntingly beautiful, or strangely serene, it boggles the mind how someone creates music like this, it must come from some deep, dark, black part of the soul, and while we ourselves might fear such a place in ourselves, we can't help but be enthralled and obsessed with the sort of sonic darkness that lurks in others.
WAY recommended, as with past GGT releases...

http://theonetruedeadangel.blogspot.com
There are moments -- especially on this album -- when I begin to seriously wonder if the enigmatic sound-mangler Mories is influenced in any way by the eccentric band Devil Doll, an equally strange band that, while not particularly metal in any sense of the word, shares with this band a perverse sensibility, a thematic bent steeped in horror, and strong tendency toward epic bombast. Devil Doll, of course, is a more genteel and operatic beast weaned on Hammer horror, while Gnaw Their Tongues is a far more savage and disturbing act whose sound is more fitting for the soundtracks to movies like HENRY: PORTRAIT OF A SERIAL KILLER and HOSTEL. There's certainly plenty of bombast on this album, though, and plenty of darkness -- the artwork all revolves around extreme BDSM themes, while titles like "My Orifices Await Ravaging," "Gazing At Me Through Tears of Urine," and "Rife With Deep Teeth Marks" make it immediately clear that the subject matter is probably not going to involve rainbows and sunshine and fields full of daisies. If there are lyrics to any of the nine tracks here, you'd be hard pressed to discern them; as usual, GTT's sound is a black and murky cyclone of skin-crawling dissonance, black sheets of distortion roaring through underground wind tunnels, disturbing samples, and a wide variety of instruments wilfully abused and processed in such a fashion as to render their sounds fantastically ugly and largely unrecognizable. The band's sound encompasses dark ambient, black metal, old-school industrial, and noise, with all of these elements smeared over and under each other the work of an imprisoned lunatic smearing his shit all over the walls in a grotesque manifestation of art. Everything the band has done so far has sounded really dark and harrowing, and this is no exception; the only real difference from this and earlier works is that Mories has grown more consistent in his ability to harness the more extreme elements of his wild and cavernous sound, and his talent for shaping these discordant blocks of sound into compelling movements that flow seamlessly from one hellish vignette to the next has grown only sharper and more skillful. If you liked his earlier recordings, you're definitely going to like this one; if you haven't heard him yet, this is a perfectly good place to begin. Those of you fond of consuming your music in altered states should note that skipping the psychedelics is strongly recommended, at least on first listen -- this is soul-scraping stuff, and unnerving enough to hear while stone cold sober.

www.musicemissions.com
You'll get your hands dirty listening to the latest Gnaw Their Tongues. Your mind might also be a little soiled after checking out "All The Dread Magnificence of Perversity." GTT, in their short career, have been one of the more disturbing grindcore bands, mostly because they come across as seriously believing in what they sing about. A lot of the genre, even bands that rock hard and true, can't pull off songs about fecal devastation, satanic cannibalism or post-war anal rape without it sounding like shtick. Thank God, the sane among us say! But this band has a deeply creepily authenticity to them, a trangressive, sociopathic glee in their songs. Gulp.
After years of listening to death metal, doom, sludge, crust, etc, it is almost shocking to listen to "My Orifices Await Ravaging" or "Broken Fingers Point Up in Vain" and be, well, shocked. It si not that the vocals or shredding guitar or the more orchestral moments are that different from others in the genre; it is just that it FEELS sincere! Ok, the closer, "The Gnostic Ritual Consumption of Semen As Embodiment of Wounds Teared in the Soul" does drift close to the usual cartoon menace. But for most of this record, Graw Their Tongues is like torture porn, complete with the incriminatingly long looks at evil and gore that makes you question the sanity of the creators."All The Dread Magnificence of Perversity" is as apt a title as you'll find. The word brutality is used early and often in metal reviews, but here it fits. That is all there is here.

earthdogsvisionsofdoom.blogspot.com
One word sums up this band - EXTREME,no other way to describe the sonic noisescapes this one man noise machine produces.Its ugly,terrifying,intense but its also a wonderfully intriguing piece of sonic work that some people will loathe with a passion but some other people will find a listening experience.Even though this is based around a Doom/Sludge experiment,this goes beyond that.Most of the time it barely resembles music at all,more of a trip into the brain of a seriously disturbed human being.There is some drumbeats,organ and some real filthy bass lines but for the most part its a experimental noise fest.A lot of it is morbid to the extreme and the ugly noise samples make it even more alarming to the ear.Among the downtuned riffs and the shrieked vocal work,this is a underlying beauty but whether you discovered this is a big question.This is not for the faint of heart,take songs like and check out these titles -"My Orifices Await Ravaging’, ‘The Stench Of Dead Horses On My Breath And The Vile Of Existence In My Hands’, ‘The Gnostic Ritual Consumption Of Semen As Embodiment Of Wounds Teared In The Soul" you get something hellish and perverse from a musical direction standpoint.There is "Godflesh" like moments,some Black Metal sounds but there is also a lot of dark ambiance.Hard to recommend this to the average listener but if you like to test your pain threshold,then is no better album to push your own listening boundaries.The sounds go from threatening to strangely melodic and everywhere in between but its so dark and sinister,its a tough listening to it all in one sitting.This is not a family-friendly album,nor is it a party album or something you would necessary listen to all the time.Once again hard to known what this kind of music(?) appeals to but its something truly unique even though there is other bands putting out this kind of stuff,Gnaw Their Tongues are one of the most extreme bands yet.7.5/10

www.blistering.com
[8/10] White noise, the sound of white noise, that is. Of the ambient, non-metal projects to come across our desk, Gnaw Their Tongues (the project of Dutch multi-instrumentalist Mories) is the most redeeming, if not the best. It’s not like there’s this immense playing field or anything, it’s a simple fact that All the Dread Magnificence of Perversity evokes more total-necro-blacker-than-thou-darkness than a lot of these shit basement black metal bands can.

The industrial tinge to this album lends to a lot of early Swans comparisons, which is fine – few could create such devastating landscapes with so little. Gnaw Their Tongues, though, are suitably harsh at times, allowing for layer upon layer of drone to pile on. It’s suffocating at times, actually. When the vocals drop in, it’s a notch just below the horrified torture shrieks were accustomed to hearing on the BM spectrum. Only here, the vocals are buried.

Even at the grueling pace of 70-minutes, All the Dread Magnificence of Perversity never runs out of steam; rather, it’s the embodiment of captivating background music, an oxymoron, if you will, but a fitting one for music meant to be disengaging and torturous. A fitting bill, indeed.

right: pre-order extravaganza. both cd and 2xlp pre order of the upcoming album: 'all the dread magnificence of perversity', come with a lot of limited goodies:

LP: packaged in a silkscreen wooden box(!)/gatefold sleeve 2xLP (gold)/special 'dread' t-shirt/silkscreen of the sleeve art/bwr sticker. check it at: www.burningworldrecords.com

CD: gatefold digi sleeve/two different colored shirts/sticker/buttons. check it at: www.crucialblast.net

both pre-order packages are limited; so hurry up if you dont want to miss out on these special deals. once they are gone, there gone!

also still available: 'rend each other apart...' LP. Vinyl only. 300 copies. Is not going to be re-released (as another format). www.atwarwithfalsenoise.com

OUT NOW!

'rend each other like wild beasts, till earth shall reek with midnight massacre'
LP may 2009
300 copies VINYL ONLY.

Thick outer sleeve. Printed inner-sleeve. Heavy vinyl.
First 50 with exclusive t-shirt (sold out already)


three long harsh shrieking and droning tracks (40 minutes)
once they are gone, they are gone; no re-pressing!

released on/order at: www.atwarwithfalsenoise.com

Some Reviews:

rom: cows are just food
gnaw their tongues: to rend each other like wild beasts, till earth shall reek with midnight massacre (at war with false noise)

the fifth angel poured out his bowl on the throne of the beast, and his kingdom became darkened; and they gnawed their tongues because of pain.
or, we’re fucked.

sweet christ this is some ugly hellish racket.  three tracks.  forty minutes.  a looping eternity of clammy uncomfortableness.
to reduce this to single words (noise, drone, metal (black or otherwise)) would be easy but pointless.  it’s all of these.  it’s none of these things.
the closest comparison that springs soddenly into my brain is the last xasthur record or maybe some of burial hexes more obstruse horror score moments.
it’s a a grim squall of muffled torment.  harsh shrieking noise mixed with detuned symphonic strings and horns and piano.  a mess of dissonant percussion and broken things being jammed amplified into something wet and red.   the croaking creak of bass abortions.  a pit of unmusical tension, of funereal feedback and nihilistic mess.
in the best possible way, of course.
ugly.

for badtrip dope rituals and blackened john carpenter moments.
for filthy pornographic abstractions.
for all those moments of black tar jism dreams, where bilious despair swamps of our little existentially crippled lives.

i need a smoke and a sit down…

GNAW THEIR TONGUES Rend Each Other Like Wild Beasts, Till Earth Shall Reek With Midnight Massacre (At War WIth False Noise) lp 16.98
What might you glean from an image of a shepherd with a ram's head cradling a baby lamb, standing amidst a flock of sheep, or what appears to be an image of Jesus or a saint or angel, also with a ram's head? What if those images were accompanied by phrases like "Rend Each Other Like Wild Beasts, Till Earth Shall Reek With Midnight Massacre", or "Then Shall They Come, Oh Master, Shrieking From Red Battlefields To People Thy Dark Realms", or "In Sullen Silence Stalks Forth Pestilence"? Well if you've been reading the aQuarius list for a while, you'd no doubt realize that this must be another filthy blackened sonic missive from our favorite master of cinematic black doom, Gnaw Their Tongues.
Three new tracks, all lengthy and dense and brutal and hellishly symphonic, we've struggled to describe the sound of GTT in the past, it's not doom, or black metal, although it incorporates bits of both, it's the strings and horns and haunting ambience, the weird samples and film clips, the strange arrangements that play out more like orchestrations than jams, that make Gnaw Their Tongues so singularly fucked up and genius.
Side one is all hellish deep drones wrapped around distant foghorns, or some sort of inhuman cries, layered atop dense rumbles and muted industrial percussion, tense, ominous, harrowing, building to a crushing cacophony, like a Godflesh record played at 16 rpm, alongside a soulful strings record playing at 8 rpm, the horns bleating and skronking and moaning beneath the heaving machinelike pound. Bursts of blasting buzzing crunch pepper the doomscape, as do super distorted harsh howls, and all manner of tangled melody, like some symphony of filth and crust, a creeping lumbering abstract soundscape, with a super haunting horror movie outro.
The 2nd side is more spacious and doomy, but no less intense, bits of backwards melody lace the stumbling pound, like some Bernard Hermann horror movie score gone haywire, all screaming strings, screaming voices, mysterious samples, all gorgeously abject, but hauntingly beautiful, the mournful horns, the dramatic stings, and the crumbling black wall of sound carrying everything forward and dragging it down to hell.
Gorgeous packaging, the aforementioned ram headed figures on the cover, with a heavy printed inner sleeve, and pressed on thick vinyl. LIMITED TO 300 COPIES. Almost out of print, these are most likely our last copies ever...
NOTE: All jackets slightly damaged, not enough to distress most folks, but anal record collectors beware!

i'm searching for gigs. i play live under the name ADERLATING (www.myspace.com/aderlating) drone/horrorsoundtrack/noise/blackmetal.

we play live with two people and bring synths/laptop/drumkit/visuals/stuff
all we need to play live is a decent PA and monitoring.

we'll play anywhere for gas money and a few beers (and if it's far, a decent couch to crash). i usually play at metal / experimental / noise / drone gigs. but we will play with anyone/anywhere.

contact me at: aboydom(at)hotmail(dot)com

check for sounds/visuals: www.myspace.com/aderlating

Burning World Records is offering a free downloadable track from the upcoming full lenght 'All the dread magnificence of perversity'

Download it here: here

Preview of the sleeve artwork here