Album Title: 
The Outlying Entities
Release Date: 
Wednesday, September 20, 2023
Review Type: 

There is wonderful terror beyond your crawling skies…

About (read: almost) one year after the brain-exploding debut Anomalous Altrium, musicians Yydraah (UK; keyboards and samples), Ionnonnisssz (drums, percussions, vocals; from the US) and Tru’nymraat (UK; all strings), involved with the likes of Act Of Entropy, Ar’lyxkq’wr, Lux Sine Lumine or Vertebrae Fetish Totem (to keep it within the Centipede Abyss family), returned with a new album, which clocks half an hour. This triumvirate did about everything themselves: song-writing and recording, mix and mastering, and even the release-duties via this stunning label.

Well, those who could appreciate Anomalous Altrium might be cheerful, for The Outlying Entities continues the path where the former album stopped. It goes on in the very same vein, and even further, with that frenetic amalgam of Free-Jazz, Mathcore and Progressive Grinding Death Metal.

There is a wonderful terror beyond your crawling Skies… Here the planets sink and no unknown power resides here. We scream and laugh loathsomely… We elder things without human resemblance… Beyond those 78,000 inconceivable steps, through the wall of nightmares… Do you see the entities that stalk between worlds? The things that devour and dissolve?

The physical album is extremely limited once again, and I guess there will be no repress whatsoever (probably sold-out, I guess). It’s a jewel-case compact-disc, hand-numbered and four-pages, with inclusion of the eloquent rhetoric (aka the mind-twisting lyrics). And at least as demented is the extraordinary and astounding (cover) artwork; also taken care of by this lunatic orchestra.

After the short yet spooky, ominous introduction Dimension Walker, which paints a desolated landscape of grimness and gloom via haunting soundwaves (created by synth and guitar) and creepy additional elements (field recordings and beats / percussions), The Outlying Entities offers us, the innocent audience, a worthy continuation on its predecessor. It’s another well-structured, post-deconstructive, and anti-structural mixture of rabid percussions, violated rhythm strings, post-prog-power-potent-prolific six-string molestation, doomed atmospheres, atrocious growls and throat-cutting disharmonious textures. I did refer to the former album, mentioning a comparable attitude somehow; but I have to apologize: this one actually takes another (huge) step into the previously unexplored dimension of delirium. Besides, things get mercilessly interspersed with sudden injections of demented ambience; take that fragment, after about one minute, from Erode Horizon, for instance, with a hint of post-apocalyptic Industrial; or that excerpt in Vanished Vibrations, at about four minutes, just for a momentum of even less than half a minute: distant jazz-like piano, remote percussions, alienated constitutions of sound. All pieces do come, by the way, with such remarkable fragments of psychoacoustic perplexity (personal note: it is an added value  for sure!). All of them are very limited in length, yet remarkable in nature, and undeniably important within the whole sonic quest.

It isn’t all Chaos solely. Opposition is an example of how a sarcastic hint of ‘melodicism’ might accompany a purest sonic mayhem, towards a realm of labyrinthine yet admissible dreamscape (okay, from a mostly discomfortable-parasomnic point of understanding, evidently).

Cacophony in a structural sense / almost architectonic or mathematic / Dismal Doom meets Grind meets Morbid Death Metal meets Black meets Avantgarde Jazz (and even this symbiosis does not totally cover the content) / unpredictability versus organization / complexity translated through dissonant techniques and technical dissonance / the beautiful ugliness of oscillating and convulsive, deeply mind-f*cking noise-manipulation…