Somewhere in between free jazz and a black metal version of the X-Files lies whatever the hell is Celestial Bodies. The music attacks as if the listener is laid out naked on a cold, steel (or similar alien material) table awaiting probe. It’s alien in quality. It’s timeless in presentation. That’s what truly makes Celestial Bodies stand out from the more rote, earth-wind-fire black metal that has been predominant since the late 1980s. Rather than taking the satanic/pagan, earth-bound approach, Celestial Bodies flies off at the speed of light to the extraterrestrial reaches of the universe creating music that is at once abrasive and entrancing.
Also, can we say a brief word about run-time? Sure, I tend to drone on and on about this subject but I do so because it’s vitally important to success. Spit Forth From Chaos runs a brisk 38-minute 10K. A near perfect amount of chaos, intrigue, asteroid sexplosions and fuzzy nothingness for anyone to get hypnotized and time warped by. In the times of nearly two-hour albums, a 38-minute runtime reigns supreme.
Rotating orbs of electrofuzz combine with drums that effect a free jazz sensibility to create something completely unique. Something that mimics, at least mentally, what it can be assumed the experience of being abducted is like. Snapping like buzz zappers working overtime on a moist July night, the backing electronics fizzle and crackle across beneath vocals rife with the tales of cosmic war and destruction, the battle for creation. Meanwhile, the listener hallucinates, infected with the goo of decay eventually experiencing mild time loss as a result of the musical abduction.
Yeah. It’s weird. It’s a fucking carnival ride on the Gravitron without the puking and screaming. Spit Forth From Chaos might be the most aptly titled album in the last number of years. The album is not only chaotic but it’s wet, the electronic backbone snapping like excess saliva being sucked back in by some ancient reptilian beast.
Being so alien in nature, yet hailing from Norway, Celestial Bodies chooses to use quite traditional vocal stylings across the lot of Spit Forth From Chaos (think Cultes Des Ghoules or Sepulchral Zeal). With the music being so drum-centric, and so focused on drony, processed string sounds, the vocals detract somewhat from what is so unique about Celestial Bodies. That’s not to say that there aren’t highlights across the album. For example, “Return To The Endless Void” uses a myriad of stylings which makes for the most successful track on the album–as if multiple characters are screaming out from the void.
Elsewhere, tracks like “Sign of the Wolf” stand out for their unique nature even against this LP. Near acapella in production, only a drone supports the harsher, and more furious and frenzied vocals. Again, an electro-drone supports the entire track like an American presidency. “Kingdom Of Black Torment” opens as if a punk track is about to faceblast you but quickly drills itself down into what can only be described as a signature styling of Celestial Bodies. Again, the drumming is excellent, hopping along on its free jazz etiquette and making for a wholly unique experience in this brand of avant garde black metal.
Spit Forth From Chaos is an album that warrants the tag “not for everyone,” yet it would be unfair to allow people to pass this one over. At thirty-eight minutes, there’s really no excuse for not taking this one for a test drive. It’s unique, it’s zany and, more than anything, it reveals some serious drumming talent. So remember to don a tinfoil hat and unplug all electrical devices before pressing play. Further, if you feel you must, please draw a lukewarm bath and listen to this album while submerged in the waters of chaos awaiting inevitable musical electrocution.