VULVANIC – ブラックエンジェルの色合い / 秘密の夜の殺人者 LP/CS (Restock)

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Lima, Peru-based deranged raw black metal cult Vulvanic join Sentient Ruin under the black banner of total violence and depravity to bring you a much-needed reissue of their two long sold out self-released demo tapes, 2019’s “ブラックエンジェルの色合い” (“Scent of Black Angel”), and “秘密の夜の殺人者” (“Ripper’s Secret Night of Murder”) remastered from the raw mixes by Will Killingsworth at Dead Air Studios, and graphically re-envisioned by the Violent Visual Shock art studio into a horrific forty-minute 12’LP and cassette tape compilation of violent, sadistic sonic abandon.

Formed by current and former members of Evil Spectrum, Tenebrion, Sordid, Obscure Evil, and Purgatorio, and infamous in their home country for erratic and unpredictable live shows entailing violence, butchered animals, sadism and self-harm, the rogue blood horde known as Vulvanic are creators of a demented and diseased form of schizoid raw black metal infested with punk, noise, and derailing psychedelia, the depravity and repulsiveness of which has few comparisons even in the darkest and most tabu dungeons of the underground. Utterly deranged and horrifically disfigured, Vulvanic’s music is even difficult to parse in its incomprehensible deformity, rising from a death-scarred dungeon and delivering hallucinatory and stomach churning visions of violence, squalor, sadism and depravity at a level unthinkable for any barely held together mind. Their crippled and spastic audio-visual syncretism unites various deviancies from around the globe, particularly in the evident hardcore and raw punk aspect predominant in their music and reminiscent of transgressive cults from Japan like G.I.S.M., Zouo, G.A.T.E.S. and Zeni Geva, and inevitably also of the historic vanguard of Japanese devilish metal, namely Sabbat, Evil, Sigh, Abigail, and Manierism, as well as Japanese transgressive art and visuals and performance art as a whole. Other influences plaguing the band’s deranged and putrid sound include of course the progenitors of pestilent emaciated black metal from Scandinavia (Darkthrone, Ildjarn), as well as infernal legends from the later period like Katharsis, Vlad Tepes and Negative Plane. The final touches to Vulvanic’s catastrophic repulsiveness are wholly intrinsic, coming from a place of personal inner torment, nihilism and self-loathing that has to be endured in its most violent and shocking manifestations to be even remotely fathomed.

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