The Austerity Program
Black Madonna

THE REVIEW

Here's what is needed in these rugged, elusive, and confusingly lean (musico)times: a moderate, austere, sober program that finally focuses on the essentials and does not transcend into flamboyantly excessive and timelessly sycophantic sound-opulence.

Issued through Hydra Head Records, a label famously specialized in idyllic sound-delights, on August 21st of the past year, the ominously iconoclastic work recently presented proves to be, after about seven years of activity, the true debut album of the two not-at-all shady New York individuals: in fact, to date, they only have a demo and a couple of singles to their credit.

A frugally brain-drilling cancerous guitar [for those who have them, of course] provided by the erudite Monsieur Justin Foley, a cenobitic and tympanum-scratching groaning bass genuinely offered by the partner in joint-(mis)adventure Mr. Thad Calabrese, all combined with the thundering and robotic rhythmic-percussive extrusion generated by a pitilessly fat and supine Drum Machine.

Forty-five overwhelmingly dense and demolitive minutes [the steel-like opener "Song 12"], shattering [the blazing "Song 18" in its miserable minute easily outclasses what the best Godflesh often could not accomplish], radically hallucinogenic [the monolithic crescendo represented within that insane material tangle titled "Song 16"] in the name of an unconventional proto-pop of clear Rihannic derivation {just kidding, folks}.

At this point, I consider it appropriate, instead of inviting you to persist in the futile perseverance of the empty web-reading of my essentially insignificant words, to give the proper word to Dear Justin (by cliqqing HERE').

PS: Floresiensis cover nothing less than extraordinary (don't you think?)