We’re proud to announce that UK industrial black metal/noise/grind nightmare Vessel of Iniquity is back with its third official full-length album "The Path Unseen", a rogue abomination set to blow yet another smoldering wound into the fabric of consciousness via unconceivable deconstructions of reality and through a deviant approach to music creation aimed at harnessing absolute terror and mimicking the final stages of sanity.
The new work has been introduced by notorious underground music blog Last Rites who in reveling the opening track “Blood Magic” via an exclusive premiere has remarked how the track “evokes hypnotism though brutality […] both in terms of technicality and deliberately sterile, cold, inhuman delivery.” - you can read their lengthily feature and check out the track HERE.
Introducing eight-string guitars for the first time ever, on "The Path Unseen" sole mastermind A. White has made a stylistic and sonic shift aimed at rendering his beast an even more lethal and oppressive force than ever before. The switch to eight strings has given the project abyss-like traits, as a death-bearing payload of low end frequencies and bottom end crush-depth of near-inescapable traits is added into the mix rendering the project essentially irreversibly damaging. The unrelenting outreach and research for the most weaponized and exaggerated forms of aural annihilation conceivable are now ever so evident in the project as Vessel of Iniquity morphs once again, release after release, seeking new ways to dissolve reality and suck the life out of its surroundings with black hole-like constructs of inescapable and all-devouring terror, which also showcase with unmistakeable evidence the fiercely experimental and constantly evolving nature of the project. Aside from the outlandish experiments in inconceivable fretwork annihilation, the catastrophic work is completed by its staple assault of carpet bombing drum machines, tectonic noise constructs and monstrous industrial abstractions that all play their unforgiving role in assembling this obliterating sonic nightmare of the underground which is becoming more and more the embodiment of pure fear and terror and an increasingly recognizable heirloom to the endless quest for the absolute extreme.
British multi-instrumentalist, soundscaper, and audial deconstructor A.White has been hammering away at some of the underground’s most puzzling, obscure, and terrifying artifacts for the better part of the last two decades. Largely recluse and solitary in his activities aside from a few defunct collaborative efforts, most of his body of work has revolved around his home studio and both the possibilities and the limitations which such a setup implicates, spanning various declinations of ambient and experimental work that have as connecting thread the extensive use of drum machines, electronic soundscapes, industrial deconstructionism and esoteric sound design, always coupled with his undying love for metal guitar, bass and vocals, specifically the extreme end of the spectrum. Influenced by bands like Coil, Godflesh, Napalm Death, Mayhem and Esoteric, White’s artistic output has assumed various forms throughout the years with self-containment and solitude as the founding basis of nearly his every work and loads of personal knowledge and deeply rooted and explored interests spanning from history to philosophy, to ancient civilizations, science and occultism, all being thrown in the mix as conceptual backdrops to his nightmarish compositions. This union of self-contained musical skills and mediums, meticulous solitary work, and endless personal interests has led to the creation of various obscure and highly underrated ambient/black metal/industrial projects over the years, many of which date as far back as 1995, from Crown of Ascension to the Egyptian mythology-themed black metal experimentalism of Thoraxembalmer, all the way to industrial funeral doom of Uncertainty Principle and of the multi-member project The Null Collective. And his most recent extreme metal project Vessel of Iniquity is the sum of all these years of self-learning, sonic exploration and boundless curiosity toward new realms of the extreme and of the unknown, all of which in recent years have helped White push his creativity into new and even more unthinkable and unseen territories of total auditory abandon. Continuing the trend of never adhering to any scene or benefitting from any kind of mainstream underground exposure, through its 2017 defining self-tiled debut album, the followup LP “Void of Infinite Horror” and a string of more experimental EPs and digital releases, Vessel of Iniquity has taken the sincretisms of black metal, grindcore, and industrial noise to its most remote outer limits, establishing itself as a puzzling and unseen beacon of extremism unlike anything else existing in the underground.