Death Killer – Total Destruction of the Entire Universe
Death Killer – Total Destruction of the Entire Universe
Last Day of The North
Release Date: 19/01/2024
Running Time: 26:00
Review by Metalphysicist
10/10
“Total Destruction of the Entire Universe” is a collection of over-compressed, over-saturated, transgressive and subversive kind of music produced by DEATH KILLER, who is a Finland-based surrealist extreme metal producer and, basically, the one who orchestrates by himself this chaotic and claustrophobic piece of art.
The radical rupture with the standards of how music is conceived takes the Fourth Art to another level on this album, next to the limit of the black hole of creation. Once I managed to get inside the song’s vortex, it felt to me that “Total Destruction of the Entire Universe” is only possible to be listened to if you relate to the songs as a five-dimensional experience. That means that the listener must interact with the album’s songs taking us to help to give birth to that synesthetic electro experience along with DEATH KILLER, right on the edge of wherever music arises (deep inside or deep space).
Just in case you don’t know what the world ‘surrealism’ means, I brought a very good definition which I researched on Google: ‘relating to the avant-garde movement in art and literature which sought to release the creative potential of the unconscious mind or its exponents’.
It sounded to me that on “Total Destruction of the Entire Universe” the main intention is to stand as an abrupt rupture of the abstract structure of what we are usually able to conceive like comprehensive songs. Forget your concept of tempo, because it is totally subverted on such extreme drum programming as heard on the first song, ‘You Know Nothing About Metal’ – which brings a bright and melodic solo to interact with not-so saturated drum programming and suddenly leading the guitar to be decomposed on loud mixing guitar which is switched to noisy sampled layers, just to lead the song ending into a chaotic odd drum programming approach. That’s also the intention behind ‘Goodbye, Wilhelm’, adding loop samples to the mixture that sounds familiar to what The Prodigy usually inserted on their songs – except that The Prodigy used those elements to dialogues with a plaint more palatable intersections – as far as I remember, on the album “Music For The Jilted Generation” (1994).
Following that same surrealist musical direction, possibly on ‘Dentist’ we have the most ‘not-music’ song on the album. DEATH KILLER here breaks any preconception of how the composition proce kit, the musical soundscapes are influenced by Nu-Metal (on ‘I Hate People’ the saturated Nu-Metal patterns are turned to Extreme Metal passages all the way and, suddenly, opens the door to doom/grinding vocoder voice sounding as Slipknot’s on their heaviest, like in ‘Heretic Anthem’s vocals that, on ‘I Hate People’ is repeatedly vocifering gore vocals, singing the only two main verses of the song, as illustrated below:
‘I Hate People’ / ‘F*ck, F*ckm F*ck’, during the 2:49 minute song.
ss is usually supposed to be. It’d be better for you to (try) to listen to ‘Dentist’ to understand what surrealistic musical producing and mixing/mastering approach mean. On the other hand, ‘Retro-Shit’ is very pleasant Electro Music, that sounds close to me nearby – but way farther – to Angle Spit’s degraded non-sense experimentations mixing, along with electro loops with Ministry-like Harsh Industrial interregnum.
As read on DEATH KILLER’s pressIsn’t that a lovely lyric?
That’s also the Nu Metal vibe that is heard on ‘The Witch’ – with punishing drum programming attack at its final part. On ‘Nobody Survives’ the band flirts with Black Metal patterns mixing the guitars to Electro Noise in the song’s mid-section. By the way ‘Nobody Survives’ sounds like an exquisite Black Metal song (that is possibly the nearest that you are going to listen here that is closer to a ‘regular’ song-like approach) completed by revolutionary aggressive electronic surrealist madness delivered by the crazy mind of the above-mentioned disturbed living being named DEATH KILLER that, as the producer and mastering man brings to the picture Dadaist elements into the mix process, reenforcing that everything is possible to be done with music, but only if you are DEATH KILLER.
The song ‘Snakes’ is the highlight of the oppressive kind of musical disruption, finding its way to the limit of the Space/Time while resurrects proto-Industrial Music which was delivered by pioneers of the genre, such as Cabaret Voltaire and Throbbing Gristles – on full speed, of course, but maintaining the main proposal of the early Industrial music intentions. On ‘Snakes’ the main DEATH KILLER goal was composing excessive sequenced noise and Expressionist Art for theatrical like singing experimentation, reenforcing that TEMPO and FREQUENCIES may be relativised, making his point that experimental avant-garde obnoxious and non-commercial pieces of music should be conceived as pure art commitment, by dully maintenance of noise layers that relates to what the 21st century musical machines can reach on its limit.
Well, as I ended up writing a track-by-track review this time around, so It’d sound unfair not mentioning ‘Emotional’ Life’, that counts with little guitar melodies here and there, adopting a ‘not so compressed guitar lines’ that evolves on a sort of ‘Electro-Sludgy Doom Metal’ bringing martial bell rings’ signature providing to the song a kind of manic thriller vibe to music ending, taking benefit, once again, to the noisy and incomprehensive mastering assault.
To finish this review, I reiterate that “Total Destruction of the Entire Universe” was created to make the listener feel repulsed by what he’d just heard during the 26:27 minutes audition of the unfilled sonority on the DEATH KILLER’s debut album.
And, to rate “Total Destruction of the Entire Universe” following the ‘Zero to Ten’ mark, a record like this one is either rated with a big and round Zero or a solid noisy 10 mark for DEATH KILLER, especially due to the consistent surrealist production and peculiar mixing, which proposal is to make music committed to the Fourth Art itself. As I must believe that “Total Destruction of the Entire Universe” wasn’t composed with financials intention, because, on that particular matter, the album certainly is destinated to be the most ‘Total Financially Bankruptcy Album of the Entire Music Business’.
TRACKINGLISTING
01. You Know Nothing About Metal
02. Goodbye, Wilhelm
03. I Hate People
04. Dentist
05. The Witch
06. SNAKES
07. Nobody Survives
08. Retro = Shit
09. Emotional Life
LINE – UP
Death Killer – drum programming, samples mix, industrial noise mastering
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